Relevant bibliographies by topics / Feminist history

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Feminist history'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Feminist history"

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Rosser, Sue V. "Feminist Scholarship in the Sciences: Where Are We Now and When Can We Expect A Theoretical Breakthrough?" Hypatia 2, no. 3 (1987): 5–17. http://dx.doi.org/10.1111/j.1527-2001.1987.tb01338.x.

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The work of feminists in science may seem less voluminous and less theoretical than the feminist scholarship in some humanities and social science disciplines. However, the recent burst of scholarship on women and science allows categorization of feminist work into six distinct but related categories: 1) teaching and curriculum transformation in science, 2) history of women in science, 3) current status of women in science, 4) feminist critique of science, 5) feminine science, 6) feminist theory of science. More feminists in science are needed to further explore science and its relationships to women and feminism in order to change traditional science to a feminist science.
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COSTA, Michelly Aragão Guimarães. "O feminismo é revolução no mundo: outras performances para transitar corpos não hegemônicos “El feminismo es para todo el mundo” de bell hooks Por Michelly Aragão Guimarães Costa." INTERRITÓRIOS 4, no. 6 (June 4, 2018): 187. http://dx.doi.org/10.33052/inter.v4i6.236748.

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El feminismo es para todo el mundo, é uma das obras mais importantes da escritora, teórica ativista, acadêmica e crítica cultural afronorteamericana bell hooks. Inspirada em sua própria história de superação e influenciada pela teoria crítica como prática libertadora de Paulo Freire, a autora nos provoca a refletir sobre o sujeito social do feminismo e propõe um feminismo visionário e radical, que deve ser analisado a partir das experiências pessoais e situada desde nossos lugares de sexo, raça e classe para compreender as diferentes formas de violência dentro do patriarcado capitalista supremacista branco. Como feminista negra interseccional, a escritora reivindica constantemente a teoria dentro do ativismo, por uma prática feminista antirracista, antissexista, anticlassista e anti-homofóbica, que lute contra todas as formas de violência e dominação, convidando a todas as pessoas a intervir na realidade social. Para a autora, o feminismo é para mulheres e homens, apontando a urgência de transitar alternativas outras, de novos modelos de masculinidades não hegemônicas, de família e de criança feminista, de beleza e sexualidades feministas, de educação feminista para a transformação da vida e das nossas relações sociais, políticas, afetivas e espirituais. Feminismo. Revolução. bell hooks. Feminismo is for everybody bell hooksFeminism is revolution in the world: other performances to transit non-hegemonic bodiesAbstractEl feminismo es para todo el mundo, is one of the writer's most important works, activist theorist, academic and cultural critic African American, bell hooks. Inspired by her own overcoming history and influenced by critical theory as a liberating practice of Paulo Freire, the author provokes us to reflect on the social subject of feminism and proposes a visionary and radical feminism that must be analyzed from personal experiences and situated from our places of sex, race, and class to understand the different forms of violence within the white supremacist capitalist patriarchy. As an intersectional black feminist, the writer constantly advocates the theory within activism, for a feminist practice anti-racist, anti-sexist, anti-classist and anti-homophobic practice that fights against all forms of violence and domination, inviting all people to intervene in social reality. For the author, feminism is for women and men, pointing to the urgency of moving other alternatives, new models of non-hegemonic masculinities, family and child feminist beauty and feminist sexualities, feminist education for life transformation and of our social, political, affective and spiritual relationships. Feminism. Revolution. bell hooks
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Nugraha, Dipa, and Suyitno Suyitno. "REPRESENTATION OF ISLAMIC FEMINISM IN ABIDAH EL KHALIEQY’S NOVELS." LITERA 18, no. 3 (November 26, 2019): 465–84. http://dx.doi.org/10.21831/ltr.v18i3.27012.

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The Indonesian literary tradition during the reform period was marked by the rise of female writers who raised the issue of feminism. Within the framework of locality and contextuality, the feminism movement echoed by female writers comes in diverse expressions. This study aims to describe the reference figures and issues of Islamic feminism that are represented in novels by Abidah El Khalieqy. This research uses a feminist literary criticism approach. The data sources of the research are three novels by Abidah El Khalieqiy, namely Perempuan Berkalung Sorban, Geni Jora, and Mataraisa. The technique used to gather feminist voices in the three novels is a close reading. The analysis was conducted using a descriptive qualitative method. The results of the study are as follows. First, Islamic feminist figures who were referred to by the feminism movement were Fatima Mernisi and Riffat Hassan. Fatima Mernisi is known as a misogonic hadith critic, while Riffat Hassan uses the hermeneutic principle in the interpretation of the Quran. Second, the issues of feminism represented are: the lives of women in the pesantren tradition, the position of women in the family, the view of normal sexual relations and relationships, and the interpretation of the hadiths and verses of the Qur'an relating to women. Islamic feminism voiced by Abidah El Khalieqy brings its own color compared to the Western feminism movement which refers to the concept of ecriture feminine. Keywords: Islamic Feminism, ecriture feminine, Indonesian literary history, politics of difference, intersectionality REPRESENTASI FEMINISME ISLAM DALAM NOVEL-NOVEL KARYA ABIDAH EL KHALIEQY AbstrakTradisi sastra Indonesia masa reformasi ditandai maraknya penulis perempuan yang mengangkat permasalahan feminisme. Dalam bingkai lokalitas dan kontekstualitas, gerakan feminisme yang digaungkan para penulis perempuan hadir dalam ekspresi yang beragam. Penelitian ini bertujuan mendeskripsikan tokoh rujukan dan persoalan feminisme Islam yang direpresentasikan dalam novel-novel karya Abidah El Khalieqy. Penelitian ini menggunakan pendekatan kritik sastra feminis. Sumber data penelitian adalah tiga novel karya Abidah El Khalieqiy, yaitu Perempuan Berkalung Sorban, Geni Jora, dan Mataraisa. Teknik yang dipakai untuk mengumpulkan suara-suara feminisme di dalam ketiga novel adalah pembacaan cermat (close reading). Analisis dilakukan dengan metode deskriptif kualitatif. Hasil penelitian sebagai berikut. Pertama, tokoh feminis Islam yang menjadi rujukan gerakan feminisme adalah Fatima Mernisi dan Riffat Hassan. Fatima Mernisi dikenal dengan kritik hadist misogonis, sedangkan Riffat Hassan dengan prinsip hermeneutika dalam tafsir Alquran. Kedua, persoalan feminisme yang direpresentasikan adalah: kehidupan perempuan dalam tradisi pesantren, kedudukan perempuan dalam keluarga, pandangan terhadap relasi dan hubungan seksual yang normal, dan tafsir terhadap hadist dan ayat Al-quran berkaitan dengan perempuan. Feminisme Islam yang disuarakan Abidah El Khalieqy membawa warna tersendiri dibandingkan dengan gerakan feminisme Barat yang merujuk pada konsep ecriture feminine. Kata kunci: feminisme Islam, ecriture feminine, sejarah sastra Indonesia, politik perbedaan, interseksionalitas.
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Pandey, Renu. "Locating Savitribai Phule’s Feminism in the Trajectory of Global Feminist Thought." Indian Historical Review 46, no. 1 (June 2019): 86–105. http://dx.doi.org/10.1177/0376983619856480.

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Initially, the feminist thought was based on Humanist approach, that is, the sameness or essentialist approach of feminism. But recently, gender and feminism have evolved as complicated terms and gender identification as a complicated phenomenon. This is due to the identification of multiple intersectionalities around gender, gender relations and power hierarchies. There are intersections based on age, caste, class, abilities, ethnicity, race, sexuality and other societal divisions. Apart from these societal intersections, intersection can also be sought in the theory of feminism like historical materialist feminisms, postcolonial and anti-racist feminisms, liberal feminism, radical feminisms, sexual difference feminisms, postmodern feminisms, queer feminisms, cyber feminisms, post-human feminisms and most recent choice feminisms and so on. Furthermore, In India, there have been assertions for Dalit/Dalit bahujan/ abrahmini/ Phule-Ambedkarite feminisms. Gender theorists have evolved different approaches to study gender. In addition to the distinction between a biosocial and a strong social constructionist approach, distinctions have been made between essentialist and constructionist approaches. The above theories and approaches present differential understandings of intersections between discourse, embodiment and materiality, and sex and gender. The present article will endeavour to bring out the salient points in the feminist ideology of Savitribai Phule as a crusader for gender justice and will try to locate her feminist ideology in the overall trajectory of global feminist thought. The article suggests that Savitibai’s feminism shows characteristics of all the three waves of feminism.
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Branciforte, Laura. "Las “ravnopravki” y el movimiento por la igualdad de los derechos a través de la historiografía = The “ravnopravki” and the movement for the equality of rights through historiography." REVISTA DE HISTORIOGRAFÍA (RevHisto) 31 (September 23, 2019): 13. http://dx.doi.org/10.20318/revhisto.2019.4872.

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Resumen: En este artículo se aborda, a partir de un estado de la cuestión sobre el debate historiográfico más reciente en torno a las mujeres y la revolución rusa, el papel que tuvieron las feministas rusas, las ravnopravki, las luchadoras por la igualdad de derechos de las mujeres. A través de algunas de las protagonistas del asociacionismo feminista, haré especial hincapié en el movimiento sufragista que se fue consolidando en un momento clave para el Imperio ruso, desde 1905 hasta 1917. Pasando de una revolución a otra, de un domingo a otro (1905- 1917), analizaré, a raíz de la bibliografía existente, no muy copiosa, las formas de la participación de las mujeres en el estallido de la Revolución de febrero, el día 23 de febrero o 8 de marzo de 1917 según el calendario adoptado: el Día Internacional de las mujeres, disputado entre bolcheviques y feministas. Por último, tomaré en consideración otro día muy señalado en la historia del protagonismo revolucionario femenino ruso y su descripción en la historiografía: el día 19 de marzo de 1917, cuando, 40.000 mujeres marcharon por la Nevsky Prospect, bajo el lema: igualdad para las mujeres y obtuvieron el sufragio universal del nuevo gobierno provisional.Palabras claves: ravnopravki, Día Internacional de las mujeres, feminismo, bolcheviques, activismo femenino y feminista.Summary: Starting with a review of the historiographical debate about women and the Russian Revolution, this paper deals with the role that Russian feminists, the ravnopravki, played in the fight for the equal rights of women. Through some of the protagonists of feminist associations, the focus is on the Suffragist movement that was gaining momentum at a key moment for the Russian Empire between 1905 and 1917. Going from one revolution to another, from one Sunday to another (1905-1917), the analysis relies on the existing, though not-so-abundant literature and explores the ways in which women participated in the outbreak of the February Revolution, on 23 February or 8 March 1917, depending on the calendar adopted for International Women’s Day, which was disputed between Bolsheviks and feminists. Finally, consideration is given to another important date in the history of the revolutionary role of the movement of Russian women and its description in historiography, 19 March 1917, when 40,000 women marched down the Nevsky Prospect under the slogan: Equality for women! and obtained universal suffrage from the new Provisional Government.Key words: ravnopravki, International Women’s Day, feminism, Bolsheviks, feminine and feminist activism.
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Williams, Cristan. "The ontological woman: A history of deauthentication, dehumanization, and violence." Sociological Review 68, no. 4 (July 2020): 718–34. http://dx.doi.org/10.1177/0038026120938292.

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Trans-exclusionary radical feminists (TERFs) make use of an ethical, moralistic framework to support specific rhetoric and behavior. Taken together, these form a self-referential ideology that functions to protect an essentialist ontology, which reliably harms cisgender, transgender, and feminist communities. Through an examination of the historical record of US radical feminist and TERF discourses, including first-hand accounts, this article considers how the ontological framework that inspires TERF rhetoric and behavior has functioned as a cycle of moral fulfillment, even as it necessitates the eradication of trans bodies. The article analyzes how TERF morality, rhetoric, and action construct social forms through a sexed binary by relying on an appeal to the natural, which serves to objectify ontological embodiment. It also foregrounds the different historical and contemporary positionalities of trans-exclusionary and trans-inclusive radical feminisms, and concludes with a reminder of the complementary attributes of trans feminism and radical feminism that are evidenced by decades of cooperation.
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Boehm, Beth A. "Feminist Histories: Theory Meets Practice." Hypatia 7, no. 2 (1992): 202–14. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00894.x.

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Fox-Genovese, Kaminer, and Riley all write the history of feminism as a history of conflict between feminists who desire to deny difference in favor of equality and those who desire to celebrate difference. And they all ask what this contradiction lying at the heart of feminist theory implies for the practice of feminist politics. These works reveal the need for feminists who engage this debate to be self’-Conscious in their formulations.
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Byrne, Jean. "Why I Am Not a Buddhist Feminist: A Critical Examination of ‘Buddhist Feminism’." Feminist Theology 21, no. 2 (December 17, 2012): 180–94. http://dx.doi.org/10.1177/0966735012464149.

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Feminist Buddhology is a burgeoning area of study, with many scholar-practitioners examining the interaction between Buddhism and feminist theory. Here I examine the contributions made by Buddhist Feminists and argue that, in general, Feminist Buddhology runs the serious risk of being ‘apologist’. I contrast the discrimination against women evident in Buddhist traditions with the claims of Buddhist Feminists that ‘Buddhism is feminism’ and ‘feminism is Buddhism’. In order to do so I provide a brief history or the position of women in Buddhism, an overview of Feminist Buddhology and lastly the beginnings of an alternate perspective from which we may interweave Buddhism and feminism, without an underlying apologist perspective.
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Ekelund, Robin. "Young Feminist Men Finding their Way." Culture Unbound 12, no. 3 (February 2, 2021): 506–26. http://dx.doi.org/10.3384/cu.v12i3.3241.

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Men and feminism is a contentious topic. In theoretical discussions as well as in previous studies, men and feminism have been described as an oxymoron, that being a man and a feminist is a border land position and that it entails experiences of so-called gender vertigo or gender limbo. Still, there are men who identify themselves as feminists and engage in feminist settings, parties and organizations. In this article, I aim to explore how masculinity is constructed and shaped within feminism. The article is based on qualitative interviews with nine young feminist men in Sweden. Using Sara Ahmed’s queer phenomenology and the concepts of disorientation and reorientation, I analyse how the interviewees experience themselves as men and feminists and how they navigate within their feminist settings. The analysis illustrates that in contrast to previous research, the interviewees articulate an assuredness in their position as men and feminists. However, being a man and a feminist is still a somewhat disorienting position that promotes reflexive journeys through which the interviewees seek to elaborate a sensitive, perceptive and “softer” masculinity. Feminism can be seen as a way of doing masculinity, and the ways in which the interviewees (re)orient themselves in their feminist settings can be understood as processes of masculinity construction. These reorientations position the interviewees in the background of their feminist settings, where they carry out what I call political housekeeping and men-feminism. From this position, they also adopt a perspective of a theoretical as well as temporal distance and articulate themselves as actors in the history of feminism. Thus, the article highlights that feminist men can seek out a masculinity that is positioned in the background yet still experience themselves as subjects in the feminist struggle.
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Dahlerup, Drude. "Ambivalenser och strategiska val. Om problem kring begreppen särart och jämlikhet i kvinnorörelsen och i feministisk teori." Tidskrift för genusvetenskap 22, no. 1 (June 16, 2022): 17–40. http://dx.doi.org/10.55870/tgv.v22i1.4318.

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Although previous research about the old feminist movement has deconstructed the equality versus difference dichotomy as false, recent Swedish research applies the same dichotomy, arguing that the demise of second wave feminism in Sweden was due to a swing from "equality feminism" "difference feminism". Based on her own extensive research on feminism in the 1960-80's, Dahlerup argues that cultural feminism of that period, including such phenomena as all women bands, films and women's literature, rather should be interpreted as a gigantic search for new feminist identities. Studies of old as well as newer feminist movements show that it has been possible for feminists to argue for equality (the political dimension) without agreeing or even clarifying for themselves the troublesome question of sameness or difference between the sexes (the onthological dimension). This article rejects the new dichotomy of biological essentialism versus constructivism, partly as a consequence of feminist theory's own rejection of the distinction between sex and gender. The article states that all feminisms see women's position as socially constructed, although in varying degrees; and that even "difference feminism" includes some protest against patriarchal biologism. In general, feminism is full of ambivalence and strategic choices rather than dichotomous thinking. The author also modifies the pendulumtheory of historical swings between feminism of sameness and feminism of difference. The article ends with recommendations for feminist movement research: A synchronous perspective is necessary, even in diachronous analyses. Further, dichotomous analytical concepts should be replaced by idealtypes which allow for differences in degree. Finally, it should be considered an empirical question, whether, when and on what issues women in history have constituted a group.
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Dissertations / Theses on the topic "Feminist history"

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Horne, Victoria. "History of feminist art history : remaking a discipline and its institutions." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/16194.

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Recognising art’s crucial function for reproducing economic and sexual differences, feminist political interventions - alongside a range of ‘new’ critical perspectives including Marxism, psychoanalysis and poststructuralism - have wrought historic changes upon the production, circulation and consumption of art. This is widely acknowledged in art historical scholarship. However, understanding that ‘art history’ (as a historically conditioned discipline) is concurrently reproductive of these ideological and material inequalities, feminist scholars have significantly and continually sought to intervene at the point of production – the writing of art’s history – to expose its social role and remake the fundamental terms of the discipline. This is a truth less widely acknowledged or, at least, less well-understood within contemporary scholarship. This thesis, therefore, seeks to examine the discipline of art history in Anglo- American contexts to assess the impact that feminist models of scholarship have had upon its knowledges and practices. This is attained through extensive literature overviews, archival research and, to a lesser extent, email interviews with key contributors to the discourse. Ultimately, this examination endeavours to address the production and regulation of feminist knowledge across a number of expanded (and interconnected) institutional sites. Case studies track the impact of feminist strategies upon the authoring of art history in the classroom, within scholarly professional organisations, academic publishing, the museum sector, and upon art-making itself. The research evaluates the mutable power structures of the discipline, how feminist interventions have had success in rethinking the limits of institutional knowledge, and how it may be possible to articulate critique under twenty-first-century conditions of institutional complicity and the hegemonic recuperation (or indeed ‘disciplining’) of radical practices. To date – and despite its prominence within much feminist writing - the importance of art historiography for the feminist political project has not been properly examined; the aim of this thesis is therefore to redress this omission and provide a timely and comprehensive critical reading of feminist knowledge production since around 1970.
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Kim, Bomyung, and Bomyung Kim. "Spatiotemporal Politics of Postwar U.S. "Feminist History": Manifestos, Histories, and Post-Feminisms." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621868.

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This dissertation examines postwar U.S. feminist narrative practices of "making," writing, and sustaining "feminist history" and their spatiotemporal figuration of the subject of "women of color." In so doing, I attend to three discursive genres of postwar U.S. "feminist history": manifestos of postwar U.S. women's movements, histories of postwar U.S. women's movements, and the discourse of "post-feminism." The term "feminist history," in this sense, relates to the various ways that postwar U.S. feminists theorized women's liberation (manifestos), historicized the past of postwar U.S. women's movements (histories), and countered the putative "end" of postwar U.S. feminism (post-feminism). First, I argue that manifestos and histories of postwar U.S. women's movements as well as the discourse of "post-feminism" commonly utilized narrative form of discourse within which spatiotemporal imagination of "feminist history" articulate. Second, I point to the spatiotemporal figuration of racial others within these postwar U.S. feminist narratives of "feminist history." Third, I question the political implication of the spatial mobility of "women of color" which is increasingly seized by the late-modern spatiotemporal politics of multiculturalism.
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Kidder, Alana D. "Women Artists in Pop: Connections to Feminism in Non-Feminist Art." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1388760449.

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VanNewkirk, Robbin Hillary. "Third Wave Feminist History and the Politics of Being Visible and Being Real." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/wsi_theses/1.

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This project works to illuminate some of the main theoretical claims that writers of the third wave make in order to understand these claims as rhetorical devices used to make themselves visible and real. Being visible is a common theme in third wave texts and realness is a site that is both contested and embraced. Being Visible and being real work together to situate third wave actors in a U.S. feminist continuum that is sprinkled with contradiction and ambiguity. This thesis will examine the contextual development of third wave feminism, and then using examples of realness and visibility in the three third wave anthologies, Being Real, Third Wave Agenda, and Catching a Wave, this thesis will interrogate at the rhetorical significance of those themes.
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Stephens, Toni. "Women and substance use a feminist perspective /." Phd thesis, Australia : Macquarie University, 1995. http://hdl.handle.net/1959.14/82702.

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"July 1994".<br>Thesis (PhD) -- Macquarie University, School of History, Philosophy and Politics, 1995.<br>Bibliography: leaves 400-462.<br>Women and substance use. An introduction -- Women and substance use from a different perspective. Feminist theory and methodology -- 'Fallen angels and moral heroines'. The historical construction of women and substance use -- 'When the normal is pathological and the pathological is normal'. Psychological explanations of women and substance use -- 'A foot in both camps'. Psychosocial explanations of women and substance use -- 'Violence as symptom and cause'. The role of substance use in the social control of women -- 'Breaking all the rules'. Legal responses to women and drugs-related crime -- 'When liberation is no liability'. Women as consumer targets -- 'A nice girl like you'. Women and substance use treatment -- Conclusion -- Bibliography.<br>In Australia today, as in many other comparable societies, women's use of alcohol and other legal drugs is not circumscribed as it has been in the past. On the face of it, this suggests that there has been a major shift in social attitudes towards use of certain substances by women in line with changes to women's social position that occurred in the last few decades. Despite these changes, however, or perhaps because of them, women's use of alcohol and other drugs still attracts different attitudes and social responses when compared to similar behaviour in men. -- The objective of this research is to investigate the reasons why women's substance use behaviour is viewed differently from that of men's, how this has come about, why it is so culturally pervasive, and what are the effects for women. It has involved exploring how the meanings attached to women's use of certain chemical substances have been socially and historically constructed through scientific discourse, and how these meanings continue to be reproduced, reinforced and legitimated within other interlocking discourses. They are reflected too in cultural images as well as in popular attitudes, held by both women and men. -- The research has been undertaken using a 'woman-centred' approach, within the framework of feminist analysis. Such approach provides an alternative way of understanding women's experience with substance use.<br>Mode of access: World Wide Web.<br>[9], 462 leaves
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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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Prescott, Sarah Helen. "Feminist literary history and British women novelists of the 1720s." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361324.

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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.

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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Ayala, Rebecca. "A Path Towards Visibility: Chicana Feminist Organizing During the 1970s." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1945.

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During the late 1960s and early 1970s, Chicanas gradually began to politically organize. Through a significant focus on the political life of Francisca Flores and the CFMN, this thesis analyzes the specific political organizing tools she and other Chicana feminist leaders used during the decade between 1970 and 1980. Rather than evaluate the success or failure of the organizations, it instead examines the political methods they used including individual leadership, coalition building, community engagement, and art. It attempts to demonstrate that prominent Chicana feminist activists such as Flores, NietoGomez of Las Hijas de Cuauhtémoc and later Encuentro Femenil, former Brown Beret Gloria Arellanes, and Los Angeles based artist Judy Baca all used these methods in specific ways in order to promote the visibility of Chicana feminism and their communities, which has had an enduring legacy for the movement. Through a comparative analysis of these methods, this thesis illustrates how each of these figures and organizations developed a Chicana feminist movement that balanced grassroots and national organizing with a conscious commitment to visibility of community, rooted in intersectional theory.
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Zdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.

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<p> Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot&rsquo;s paintings and applied feminist theory, including third-wave feminism (post-1960&rsquo;s). My research was angled to approach and understand Morisot&rsquo;s artwork as a contemporary woman would at an exhibition.</p>
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Books on the topic "Feminist history"

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Mills, Sara. Feminist readings/feminists reading. 2nd ed. London: Prentice Hall/Harvester Wheatsheaf, 1996.

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DiCenzo, Maria, Lucy Delap, and Leila Ryan. Feminist Media History. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078.

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Feminist literary history. New York: Routledge, 1988.

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Radical feminism: Feminist activism in movement. Houndsmills, Basingstoke Hampshire: Palgrave Macmillan, 2015.

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Herstein, Sheila R. A mid-Victorian feminist, Barbara Leigh Smith Bodichon. New Haven: Yale University Press, 1985.

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Herstein, Sheila R. A mid-Victorian feminist, Barbara Leigh Smith Bodichon. New Haven: Yale University Press, 1985.

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Forging identities: Feminist history. S.l: University of Western Australia Press, 1997.

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1957-, Morgan Sue, ed. The feminist history reader. London: Routledge, 2006.

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The fantasy of feminist history. Durham: Duke University Press, 2012.

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Pensar con Celia Amorós. Madrid: Editorial Fundamentos, 2010.

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Book chapters on the topic "Feminist history"

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Spender, Dale. "Women and Literary History." In The Feminist Reader, 16–25. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25621-1_2.

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Brown, Kathryn, and Elspeth Mitchell. "Feminist Digital Art History." In The Routledge Companion to Digital Humanities and Art History, 43–57. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-6.

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Johnson, Merri Lisa. "On Feminist Intellectual History." In On the Literary Nonfiction of Nancy Mairs, 7–22. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230337688_2.

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DiCenzo, Maria, Lucy Delap, and Leila Ryan. "Introduction: The Challenges and Contributions of Feminist Media History." In Feminist Media History, 1–18. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_1.

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DiCenzo, Maria, Lucy Delap, and Leila Ryan. "Introduction." In Feminist Media History, 21–70. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_2.

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DiCenzo, Maria. "Introduction." In Feminist Media History, 73–75. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_3.

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DiCenzo, Maria. "Unity and Dissent: Official Organs of the Suffrage Campaign." In Feminist Media History, 76–119. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_4.

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Ryan, Leila, and Maria DiCenzo. "The Englishwoman: “Twelve Years of Brilliant Life”." In Feminist Media History, 120–58. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_5.

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Delap, Lucy. "Individualism and Introspection: The Framing of Feminism in the Freewoman." In Feminist Media History, 159–93. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_6.

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DiCenzo, Maria, Lucy Delap, and Leila Ryan. "Conclusion." In Feminist Media History, 194–200. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230299078_7.

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Conference papers on the topic "Feminist history"

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Zou, Jie, and Shunhui Wang. "History of Feminist Criticism in Japan." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.245.

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Blackburn, Manuella, and Paul Harkins. "Finding the Female Users: A Feminist Historiography of the Fairlight CMI." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/feministhistoriography.

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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.

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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la postura de los museos mexicanos a este respecto es reservada, existe una apertura a prácticas con perspectiva de género, desde sus investigaciones, oferta cultural y exposiciones temporales. Con las medidas de confinamiento derivadas del COVID-19, quedó claro que las estrategias de los museos para continuar sus actividades, se centraron y volcaron en las Redes Sociales y sus páginas web. Asimismo, se lograron continuar no solo con las prácticas con perspectiva de género que incipientemente se realizaban en estos espacios, si no que se incrementaron los contenidos de corte feminista y de acción política cultural.Entre los ejemplos más notables estuvieron la apertura de nuevos espacios virtuales como lo hizo el Museo Universitario de Arte Contemporáneo, con su Instagram Brillantinas MUAC, en donde se publican diversos materiales feministas desde la cultura y se ínsita al diálogo y la profundización de varios temas con perspectiva de género.Por otro lado, la actividad digital y cultural a raíz de la Conmemoración del Día Internacional para la Eliminación de las Violencias contra las Mujeres, fue adoptada por una gran cantidad de museos desde privados hasta estatales, ya sea con una mención al tema o una actividad o serie de actividades al respecto. Fue un ejercicio que trascendió a los 10 días de activismo y que obtuvo una interesante respuesta tanto negativa como positiva dentro de los públicos.Finalmente, uno de los ejercicios más interesantes que se lograron a pesar de las dificultades por la situación sanitaria, fue la iniciativa “Laboratoria: Mujeres en el Museo” lanzada por el Observatorio Raquel Padilla del Instituto Nacional de Antropología e Historia, que por medio de diversas herramientas digitales, se pudo llevar a cabo un ejercicio feminista y de soberanía digital en la elaboración de prototipos con perspectiva de género y para la prevención de las violencias contra las mujeres.-------- The objective of this communication is to present some feminist practices that have made use of technologies in museums in Mexico, as well as to reflect on digital sovereignty, the cultural rights that are exercised in social networks and if they are registered in the "Feminist internet" from museums.In recent years, feminist movements in Mexico have taken on political relevance, in public spheres and social intervention. Many of them have been judged negatively for making use of cultural property, which has triggered polarized opinions.Although the position of Mexican museums in this regard is reserved, there is an openness to practices with a gender perspective, from their research, cultural offerings and temporary exhibitions. With the confinement measures derived from COVID-19, it was clear that the museums' strategies to continue their activities were focused and turned over to Social Networks and their web pages. Likewise, it was possible to continue not only with the practices with a gender perspective that were incipiently carried out in these spaces, but also the contents of a feminist nature and of cultural political action were increased.Among the most notable examples were the opening of new virtual spaces such as the University Museum of Contemporary Art, with its Instagram Brillantinas MUAC, where various feminist materials from culture are published and the dialogue and the deepening of various issues are encouraged. gender perspective.On the other hand, the digital and cultural activity as a result of the Commemoration of the International Day for the Elimination of Violence against Women, was adopted by a large number of museums from private to state, either with a mention of the subject or an activity or series of activities in this regard. It was an exercise that transcended 10 days of activism and that obtained an interesting negative and positive response from the public.Finally, one of the most interesting exercises that were achieved despite the difficulties due to the health situation, was the initiative "Laboratory: Women in the Museum" launched by the Raquel Padilla Observatory of the National Institute of Anthropology and History, which through various digital tools, it was possible to carry out a feminist exercise and digital sovereignty in the development of prototypes with a gender perspective and for the prevention of violence against women.
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Flores, José Antonio. "En Femenino." In Jornadas sobre Innovación Docente en Arquitectura (JIDA). Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica, 2022. http://dx.doi.org/10.5821/jida.2022.11630.

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The presence of women is already the majority in architecture students, with a growing trend for years; not so, for now, in the teaching staff. Architecture, like other disciplines in the Western world, has traditionally been male, but today the classrooms are full of young women who want to be architects. Teaching in architecture schools, despite the abundance of feminist studies, does not generally take into account the gender perspective. The study plans do not provide specific spaces for this matter, which favors the invisibility of women's work in the discipline and does not offer enough non-male references to students. This paper presents a two-year teaching experience that includes the gender perspective in the teaching of History of art and architecture for first-year students. La presencia de mujeres es ya mayoritaria en el estudiantado de arquitectura, con una tendencia creciente desde hace años; no así, por ahora, en el claustro docente. La arquitectura, como otras disciplinas en el mundo occidental, ha sido tradicionalmente masculina, pero hoy las aulas están llenas de chicas que quieren ser arquitectas. La docencia en las escuelas de arquitectura, pese a la abundancia de estudios feministas, no tiene generalmente en cuenta la perspectiva de género. Los planes de estudio no prevén espacios específicos para este asunto, lo que favorece la invisibilidad del trabajo de las mujeres en la disciplina y no ofrece suficientes referentes no masculinos a los/las estudiantes. Esta comunicación presenta una experiencia docente de dos años que incluye la perspectiva de género en la enseñanza de la Historia del arte y de la arquitectura para estudiantes de primer curso.
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Burns, Karen, and Harriet Edquist. "Women, Media, Design, and Material Culture in Australia, 1870-1920." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4017pbe75.

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Over the last forty years feminist historians have commented on the under-representation or marginalisation of women thinkers and makers in design, craft, and material culture. (Kirkham and Attfield, 1989; Attfield, 2000; Howard, 2000: Buckley, 1986; Buckley, 2020:). In response particular strategies have been developed to write women back into history. These methods expand the sites, objects and voices engaged in thinking about making and the space of the everyday world. The problem, however, is even more acute in Australia where we lack secondary histories of many design disciplines. With the notable exception of Julie Willis and Bronwyn Hanna (2001) or Burns and Edquist (1988) we have very few overview histories. This paper will examine women’s contribution to design thinking and making in Australia as a form of cultural history. It will explore the methods and challenges in developing a chronological and thematic history of women’s design making practice and design thinking in Australia from 1870 – 1920 where the subjects are not only designers but also journalists, novelists, exhibiters, and correspondents. We are interested in using media (exhibitions and print culture) as a prism: to examine how and where women spoke to design and making, what topics they addressed, and the ideas they formed to articulate the nexus between women, making and place.
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Lee, Yuk Yee Karen, and Kin Yin Li. "THE LANDSCAPE OF ONE BREAST: EMPOWERING BREAST CANCER SURVIVORS THROUGH DEVELOPING A TRANSDISCIPLINARY INTERVENTION FRAMEWORK IN A JIANGMEN BREAST CANCER HOSPITAL IN CHINA." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact003.

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"Breast cancer is a major concern in women’s health in Mainland China. Literatures demonstrates that women with breast cancer (WBC) need to pay much effort into resisting stigma and the impact of treatment side-effects; they suffer from overwhelming consequences due to bodily disfigurement and all these experiences will be unbeneficial for their mental and sexual health. However, related studies in this area are rare in China. The objectives of this study are 1) To understand WBC’s treatment experiences, 2) To understand what kinds of support should be contained in a transdisciplinary intervention framework (TIP) for Chinese WBC through the lens that is sensitive to gender, societal, cultural and practical experience. In this study, the feminist participatory action research (FPAR) approach containing the four cyclical processes of action research was adopted. WBC’s stories were collected through oral history, group materials such as drawings, theme songs, poetry, handicraft, storytelling, and public speech content; research team members and peer counselors were involved in the development of the model. This study revealed that WBC faces difficulties returning to the job market and discrimination, oppression and gender stereotypes are commonly found in the whole treatment process. WBC suffered from structural stigma, public stigma, and self-stigma. The research findings revealed that forming a critical timeline for intervention is essential, including stage 1: Stage of suspected breast cancer (SS), stage 2: Stage of diagnosis (SD), stage 3: Stage of treatment and prognosis (ST), and stage 4: Stage of rehabilitation and integration (SRI). Risk factors for coping with breast cancer are treatment side effects, changes to body image, fear of being stigmatized both in social networks and the job market, and lack of personal care during hospitalization. Protective factors for coping with breast cancer are the support of health professionals, spouses, and peers with the same experience, enhancing coping strategies, and reduction of symptom distress; all these are crucial to enhance resistance when fighting breast cancer. Benefit finding is crucial for WBC to rebuild their self-respect and identity. Collaboration is essential between 1) Health and medical care, 2) Medical social work, 3) Peer counselor network, and 4) self-help organization to form the TIF for quality care. The research findings are crucial for China Health Bureau to develop medical social services through a lens that is sensitive to gender, societal, cultural, and practical experiences of breast cancer survivors and their families."
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YOSHIMURA, Noriko. "The identity and design of the modern British home under the influence of the ‘feminine territory’ and Japanese Art." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-033.

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Kochukov, Sergey, and Olga Kochukova. "Feminine Ethno-national Personifications in the Austrian Political Caricature of the Period of the Great Eastern Crisis (1875–1878)." In Woman in the heart of Europe: non-obvious aspects of gender in the history and culture of Central Europe and adjacent regions. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/0475-6.13.

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Гусева, О. В. "Женский голос в современной польской поэзии". У Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.46.

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Women have been involved in the creation of Polish literature since the 17th century. A new page in the history of Polish literature, which came after 1989, is associated with the rapid development of feminism. An important phenomenon of poetry at the beginning of the XXI century was the abundance of female names: at this time, the authors of the older generation, such as V. Szymborska, E. Lipska, K. Miłobędzka, J. Hartwig, continue to create, but new names also appear: J. Mueller, M. Cyranowicz, J. Bargielska, M. Podgórnik, M. Lebda, J. Fiedorchuk, M. B. Kielar. Contemporary Polish women’s poetry is very soulful, sensual and deep, it is filled with empathy, and at the same time it is subjective. Corporeality and frankness become one of the characteristic features of women’s writing: women’s poetry tells more openly and directly about the most intimate experiences.
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Chepelevskaya, Tatyana. "Travel Essays by E.i. Witte at the Beginning of the 20th Century as an Example of Documentary Fiction and an Example of a "Feminine" View of the "Slavic" Theme." In Woman in the heart of Europe: non-obvious aspects of gender in the history and culture of Central Europe and adjacent regions. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/0475-6.32.

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