Relevant bibliographies by topics / Literature|Gender studies|Film studies

Contents

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

Academic literature on the topic 'Literature|Gender studies|Film studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Literature|Gender studies|Film studies"

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Herrmann, Gina, and Isabel Jaén-Portillo. "Introduction." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 11–17. http://dx.doi.org/10.5399/uo/peripherica.1.2.2.

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This special issue of Periphērica, Image and Storytelling: New Approaches to Hispanic Cinema and Literature, features leading research by scholars of Hispanic cultures at the crossroads of literature, film, mind, and society. The collection showcases cutting-edge fields and themes including cognitive studies, affect studies, embodiment, and empathy, as well as new perspectives on adaptation, film typology, film teaching, gender, and genre. The research presented in this special issue underscores the excitement produced by crossing disciplinary boundaries in the study of verbal and visual narratives, moving beyond prevalent transnational approaches that do not sufficiently address key factors in the creation and reception of film narratives such as historical-sociological contexts, affective dynamics, psychological responses, and gender variables. The contributors include scholars whose professional and social relationships to the history, practices, and evolution of the moving image and new media vary widely, broaching a diversity of theories and methodologies and presenting readers with a comprehensive and innovative perspective on film art and the relationship between filmmakers, films, spectators, and contexts.
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Tarcov, Marianne, and Fareed Ben-Youssef. "Bodies in Pain, Pleasure, and Flux: Transgressive Femininity in Japanese Media and Literature." Japanese Language and Literature 53, no. 2 (October 10, 2019): 177–81. http://dx.doi.org/10.5195/jll.2019.78.

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Across a diverse set of texts from Japanese media and literature, including professional wrestling, avant-garde writing, and Zainichi Korean literature, this special section explores the fluid relationship between femininity and the body, where one is neither defined nor determined by the other. At the crossroads of Asian studies, gender studies, media, and literature, this collection offers an interdisciplinary and transnational lens to consider this relationship in a Japanese context. To borrow from Lee's deployment of Gloria Anzaldúa's “Border Women,” transgression provides these papers with a theoretical framework of inherent ambiguity that lingers between worlds—between the sanctioned and the unsanctioned, between performer and persona, between the reader and text. The papers presented here all treat femininity, not as an essentialized category of gendered experience, but as a liminal border zone in which conventional notions of gender, sexuality, and media become fluid and ambiguous. Whether it is the border between perfume advertising and avant-garde poetry, literary criticism and butoh dance, autobiographical writing and oral forms of nonverbal performance, or professional wrestling and documentary film, the papers featured here all transgress disciplinary borders of media and genre while interrogating and disrupting conventional notions of femininity.
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Collins, Matthew A. "Examining the Reception and Impact of the Dead Sea Scrolls: Some Possibilities for Future Investigation." Dead Sea Discoveries 18, no. 2 (2011): 226–46. http://dx.doi.org/10.1163/156851711x582541.

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AbstractThe last sixty years afford us a remarkable, though largely unexplored, opportunity to examine the Dead Sea Scrolls from the perspective of “reception history.” This article first provides an overview of what has already been done with regard to this goal and highlights the importance and timeliness of such an approach, suggesting that it is furthermore a necessary endeavor if Qumran Studies is to keep pace with developments in the wider world of Biblical Studies. It continues by outlining some possible directions for future investigation, identifying academic reception, popular reception, and processes of knowledge transfer as three main areas or categories into which such examinations could helpfully be divided. The internal processes of scrolls scholarship, the relationship between Qumran Studies and Biblical Studies, gender issues, the scrolls in literature, film, music, and art, and the role of exhibitions, documentaries, and newspapers, are all highlighted as potential areas for future research.
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De Marco, Marcella. "The ‘engendering’ approach in audiovisual translation." Target. International Journal of Translation Studies 28, no. 2 (August 4, 2016): 314–25. http://dx.doi.org/10.1075/target.28.2.11dem.

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Abstract Within academia gender analysis has been circumscribed mainly to Social Sciences. For years the focus of this analysis has been on the unbalanced representation of men and women as perceived through the use of the (sexist) grammatical and linguistic patterns of a language – for example, in literature – and the use of the images selected to portray male and female bodies – in the case of the mass media. With time, an interest in the implications that also the translation of written and audiovisual texts may have on the representation and perception of gender has grown, and attention has gradually shifted from the literary translation field to the audiovisual one. In the last decade, the study of audiovisual translation discourse from a gender perspective has ranged over a number of genres (TV series, films and commercials) and has resulted in a fruitful debate around the manifold approaches from which gender bias may be investigated, questioned and eventually reversed. In particular, De Marco (2012) has shed light on how much the consideration of audiovisual translation (AVT) as a social practice may benefit from implementing theories inherent to the multifaceted disciplines of Linguistics, Gender Studies, Film Studies and, obviously, Translation Studies. The present article discusses the extent to which such an interdisciplinary and ‘engendering’ approach may contribute to building a valid methodological framework within which AVT can be explored. At the same time, it highlights the limitations entailed by the difficulty of applying the same approach to the study of such a practical area – AVT – in which gender priorities are not perceived as important as other professional priorities.
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Cummings, Kelsey. "“Life Savers”: Technology and White Masculinities in Twitter-Based Superhero Film Promotion." Social Media + Society 4, no. 2 (April 2018): 205630511878267. http://dx.doi.org/10.1177/2056305118782677.

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Drawing from social media studies and the literature on American economic decline and conceptualizations of gender and sexuality, this article asks how Twitter’s medium-specific features can be understood through an examination of its representational qualities in the context of the promotion of two contemporary superhero films. The accounts @BatmanvSuperman and @SpiderManMovie provide case studies of film promotion that uses Twitter’s particularities as a platform in order to advance distinct narratives about the films being promoted, via original tweets and retweets that, respectively, represent differing approaches to advertisement. Through this study, the article advances the arguments, first, that cultural representations are reflective of Twitter’s specificities as a social media platform, and second, that these representations work in conjunction with cultural norms of the contemporary US. One form of idealized White masculinity advanced by the latter is reliant on technology and its merging with the White man’s body. As a result, the technologies of superheroes’ suits as well as Twitter itself become representative of the present sociopolitical climate and its various aspirations and anxieties.
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Sequeiros, Paula, and Luísa Sequeira. "Forget Bárbara Virgínia? A forerunner filmmaker between Portugal and Brazil." Comunicação e Sociedade 32 (December 29, 2017): 353–74. http://dx.doi.org/10.17231/comsoc.32(2017).2766.

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Bárbara Virgínia was a forerunner film director in Portugal and the Festival de Cannes. Starting artistically as a diseuse and actress, she directed a feature film and a documentary in her youth, in 1946. Bárbara emigrated to Brazil in 1952 to work on radio and television, the country where she settled, formed a family, eventually abandoning the stages, and died in 2015. For this socio-biography, we collected and analysed public and private memory documents, a research interview and conversations with her family. To construct our analysis and strengthen a feminist perspective, we used Portuguese cinema’s History and memoirs. We both avoided mythologising and aimed at unveiling the patriarchal gaze which shapes some literature about Bárbara Virgínia. We built our questioning and analysis from Linda Alcoff’s and Teresa de Lauretis’s gender studies, from the sociology of culture by Pierre Bourdieu who Bev Skeggs borrowed for her intersection of class, gender and coloniality, alongside historical and social research about both countries’ context. The paper focuses on the artistic and familiar roles played by the filmmaker, and proposes an interpretation aimed to contribute to a fine knowledge about gender and class barriers to cultural and professional practices at that time, while it also discusses the erasure of memory about Barbara Virginia.
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Haastrup, Helle Kannik. "Hermione’s feminist book club: celebrity activism and cultural critique." MedieKultur: Journal of media and communication research 34, no. 65 (December 21, 2018): 98–116. http://dx.doi.org/10.7146/mediekultur.v34i65.104842.

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In this article, I analyse how a celebrity can perform cultural critique and feminist activism using her Instagram account and online book club. The celebrity in question is British film star Emma Watson, famous for playing Hermione Granger in the Harry Potter franchise. Watson is performing her activism on gender equality and cultural critique by recommending feminist literature. This study undertakes an analysis of Watson’s presentations of self on Instagram and in her letters in the Our Shared Shelf book club. The analysis takes its point of departure from theories of social media and celebrity culture and film studies as well as investigations of celebrity book clubs and celebrity activism. This case study of Emma Watson’s performance of cultural critique and activism on specific media platforms demonstrates that Watson’s authority is based on her star image as well as the fact that her book club letters and Instagram posts mutually reinforce one another’s written personal arguments and visual documentation.
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Millard, Chris, and Felicity Callard. "Thinking in, with, across, and beyond cases with John Forrester." History of the Human Sciences 33, no. 3-4 (October 2020): 3–14. http://dx.doi.org/10.1177/0952695120965403.

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We consider the influence that John Forrester’s work has had on thinking in, with, and from cases in multiple disciplines. Forrester’s essay ‘If p, Then What? Thinking in Cases’ was published in History of the Human Sciences in 1996 and transformed understandings of what a case was, and how case-based thinking worked in numerous human sciences (including, centrally, psychoanalysis). Forrester’s collection of essays Thinking in Cases was published posthumously, after his untimely death in 2015, and is the inspiration for the special issue we introduce. This comprises new research from authors working in and across the history of science and medicine, gender and sexuality studies, philosophy of science, semiotics, film studies, literary studies and comparative literature, psychoanalytic studies, medical humanities, and sociology. This research addresses what it means to reason in cases in particular temporal, spatial, or genre-focused contexts; introduces new figures (e.g. Eugène Azam, C. S. Peirce, Michael Balint) into lineages of case-based reasoning; emphasizes the unfinished and unfinishable character of some case reading and autobiographical accounts; and shows the frequency with which certain kinds of reasoning attempted with cases fail (often in instructive ways). The special issue opens up new directions for thinking and working with cases and case-based reasoning in the humanities and human sciences.
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Harper, Margaret Mills. "South Atlantic Modern Language Association." PMLA/Publications of the Modern Language Association of America 115, no. 4 (September 2000): 856. http://dx.doi.org/10.1632/s0030812900140325.

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SAMLA's seventieth annual convention will be held in Birmingham at the Sheraton Civic Center from 10 to 12 November. William C. Calin will present the keynote address; George Ella Lyon will give the creative address; and French, German, and Spanish plenary addresses will also be featured. Sonia Sanchez will make a special appearance, and other sessions will focus on Birmingham and Alabama writers, gender and race studies, and human rights in literature and culture. Last year's highly successful reading by contemporary writers, sponsored by the literary magazine Five Points, will be repeated. Graduate students will host a poets' circle, and a special performance of Hemingway stories will take place. Among the twenty special sessions are African Influence on Western Literatures; The Holocaust in Literature and Film; Rhetorics, Rhetoricians, and the Teaching of Rhetoric; Early Modern Women of Spain; and Epics and Literature at the Millennium. During the varied program (over 140 sessions), the convention will feature issues of technology, pedagogy, and professional concerns and will offer a number of opportunities to meet and socialize. Cash bars will be held for faculty members in two-year colleges, Feministas Unidas, and gay and lesbian studies. Side trips are planned to the Birmingham Civil Rights Institute and the Birmingham Museum of Art. A full copy of the program will be available on the SAMLA Web site in July.
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Rajasakran, Thanaseelen, Santhidran Sinnappan, Thinavan Periyayya, and Sridevi Balakrishnan. "Muslim male segmentation: the male gaze and girl power in Malaysian vampire movies." Journal of Islamic Marketing 8, no. 1 (March 6, 2017): 95–106. http://dx.doi.org/10.1108/jima-01-2015-0007.

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Purpose The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory. Design/methodology/approach This paper is based on a critical review of the literature for insights into the consumer culture theory in the context of Muslim consumers, Islamic marketing paradigm and the feminist theory. Findings The study suggests that scholars in the area of marketing may consider drawing on the theory of Islamic consumer culture, film and feminist theory. This theory can be used as a platform to understand the Muslim mind and the related cultural traits to create greater engagement and interest in Malaysian horror genres among local and international audience. The Malaysian local horror genres currently have an interesting blend of Islam, local culture and gender biases addressing the universal concept of good against the evil forces, and this has the potential of offering new experiences to especially international audiences. Research limitations/implications This study is purely theory-based and is aimed at knowledge development in this field of Islamic consumer culture. It also invites academics to engage in scholarly activities toward theory building in this area. Practical implications The study provides directions for areas of possible future research in Islamic marketing, consumer culture and film studies. Social implications This study intends to broaden the research efforts in Islamic consumer culture marketing in terms of innovative ways to serve this growing Muslim market. Originality/value This study contributes to the discipline by providing new perspectives in Islamic consumer culture inquiry in the context of film studies.
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Dissertations / Theses on the topic "Literature|Gender studies|Film studies"

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DuGar, Grace A. "Passive and Active Masculinities in Disney’s Fairy Tale Films." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1367849096.

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Coyne, Kelly Marie. ""The Magic Mirror" Uncanny Suicides, from Sylvia Plath to Chantal Akerman." Thesis, Georgetown University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10272269.

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Artists such as Chantal Akerman and Sylvia Plath, both of whom came of age in mid-twentieth century America, have a tendency to show concern with doubles in their work—Toni Morrison’s Beloved , Maya Deren’s Meshes of the Afternoon, Cheryl Dunye’s The Watermelon Woman—and oftentimes situate their protagonists as doubles of themselves, carefully monitoring the distance they create between themselves and their double. This choice acts as a kind of self-constitution, by which I mean a self-fashioning that works through an imperfect mirroring of the text’s author presented as a double in a fictional work. Texts that employ self-constitution often show a concern with liminality, mirroring, consumption, animism, repressed trauma, suicide, and repetition.

It is the goal of this thesis to examine these motifs in Sylvia Plath’s The Bell Jar and the early work of Chantal Akerman, all of which coalesce to create coherent—but destabilizing—texts that propose a new queer subject position, and locate the death drive—the desire to return to the mother’s womb—as their source. I will examine the uncanny on various levels, zooming out from the micro-level elements of the text to its broader relationship to its environment: from rhetoric, to the physical landscapes of the texts, to characters of the text, to the structure of the text (as confined by its frame), and then, finally, outside the text itself, to the author’s relationship with her double. What I will argue here is that Akerman and Plath—in doubling on both the extradiegetic and intradiegetic levels of their work—propose a queer liminal space that siphons and ultimately expels repressed uncanny desire, allowing for both self-sustainability and personal integrity.

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Whiteleather, Hagan Faye. "FROM RIVETER TO RIVETING: THE REBIRTH OF THE FEMME FATALE IN POST-WAR AMERICA." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431360238.

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AlFares, Fawwaz A. "Infestation, Transformation, and Liberation| Locating Queerness in the Monsters of 'Body Horror'." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123807.

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Given the increased public enthusiasm for the genres of Horror and Science Fiction, as well as the renewed and ever-evolving interest in indie horror films (propelling them into the mainstream), there is a noticeable increase of public eagerness to consume films that toy with the ideas of anxiety and the body. While many of these films seem to fit the rubric of heteronormative and mainstream Hollywood productions that occupy a neat world of perfectly defined gender identities, we can still excavate bodies that fall outside of such neat definitions. On the one hand, we are presented with a defined female or male character, thrust into a chaotic situation through which they must endure tremendous anxiety and pain and strive to survive. On the other, these bodies seem to survive and thrive despite not fitting in with the simple heteronormative worlds in which they dwell.

The purpose of this thesis is not to provide a stand-in or voice for the queer body, nor is its purpose to create an index of films that fall under the sub-genre of ‘Body Horror,’ but to explore how films in this genre that seem to privilege performances of able-bodiedness and heteronormativity actually treat queerness and queer topics in very different ways. This thesis wishes to explore these bodies as they cruise through their respective dystopian technofetishistic worlds; as their bodies are infected, their figures transformed, and their psyches liberated as they attain physical, sexual or psychological release.

To facilitate both observation and maintain its central focus, this paper will be divided into three main parts. The first chapter will define key terms and phrases that are the central focus of this paper. The second chapter will explore the concept of ‘Infestation,’ which will focus on the queer and disabled bodies as they are occupied, annexed, and attacked by external forces or internal strife. This chapter will consider the concept of ‘Transformation’ and further examine the manner through which the “monstrous queer” emerges through the definition of normalcy and the anomalous. Lastly, the final chapter will revolve around the concept of ‘Liberation,’ and review these observations in terms of how these performances reconcile and imagine their own respective ideas of queer futures. This final chapter will expand the narrative of queer futurity while also dwelling on notions of the inevitable “queer dystopia” in ‘Body Horror’ films. The voices and scholarship in the fields of Queer and Disability Studies, Psychoanalysis, and Film Studies will guide this reading as it seeks out these bodies and unearths the deeply affective, psychological, and physical states of transformation they undergo.

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Chen, Yue. "Between Sovereignty and Coloniality--Manchukuo Literature and Film." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23783.

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This dissertation studies the cultural imagination of Manchukuo the nation (1932-1945). As a nominal nation-state imposed upon Chinese Manchuria by the Empire of Japan, Manchukuo is a contradiction between sovereignty and coloniality, both due to the historical competition of geopolitical powers in the region and its multiethnic composition of the national community. In its short political life, Manchukuo bears witness to an unprecedented flourish of literary and film production. This textual corpus remains understudied and its relationship to Chinese literature and culture or Japanese literature and culture is insufficiently explored. Armed with postcolonial and minority discourse, this project examines how Manchukuo cultural production mediates the notion of the nation and sovereignty in the context of Japanese imperialism. The close reading and critical interrogation of this body of literary and filmic texts shall generate provocative questions for the reconstruction of Chinese literary studies and East Asian studies. The body of the dissertation consists of four interrelated arguments. Framing the reading in the context of recent scholarly debate on “the Sinophone,” Chapter two considers Manchukuo literature as a “minor literature” whose distinction lies in its writers’ use of “deterritorialized” Chinese, Japanese, and Russian. Multilingualism and multiethnicity are therefore the (trans)national features of Manchukuo literary production. This literary “sovereignty” is then re-examined through the representation of Manchukuo’s women and family in Chapter three. Interpreting coloniality through reading gender relations, this chapter highlights the unusual progressive portrayal of women in Manchukuo. This discovery of Manchukuo women’s autonomy and mobility is reinforced in the interpretation of Manchukuo’s dramatic feature films. Working through feminist critique of gender division and looking into magazines of the era, chapter four and five analyze the films’ explanation of a contradiction within Japanese imperialism. This contradiction of “sovereignty” and “submission” gets further elaboration in Chapter five. An interpretation of the star text of Ri Kōran reveals her stardom and Manchukuo film musical provides a unique anti-romantic “affiliation” of the Manchukuo nation.
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Parziale, Amy Elizabeth. "Representations of Trauma in Contemporary American Literature and Film: Moving from Erasure to Creative Transformation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301676.

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This dissertation attempts, in its limited way, to redress the repeated erasure of trauma from public knowledge and social consciousness by examining how a variety of crisis events have been represented in contemporary American literature and film. Intersecting archival, trauma, literary and film studies, this project highlights connections across politics of institutions and politics of identity by considering the creative transformation of trauma in representation. Considering how trauma aesthetics across a broad spectrum also illuminates the ways social structures are reinscribed, how trauma permeates and crosses borders in productive ways, and how race, gender, sexuality, and class relate to the traumatic. Each text included here has an interesting relationship to cultural history and historic events - including the Holocaust, 9/11, and slavery - challenging a variety of accepted social narratives. After an introduction outlining the theoretical frameworks, the first chapter considers Cuban-American author Cristina García's work; specifically how her first two novels - Dreaming in Cuban and The Agüero Sisters - attempt to resolve the traumatic pasts of female characters, while her subsequent two novels - Monkey Hunting and A Handbook to Luck - consider which stories are collected and which are lost. Reading novels as potential counter-archives envisions more inclusive understandings of truth, history, memory, and trauma. The image/texts analyzed in the next chapter continue this line of inquiry, further blurring supposedly stable categories like truth and history through complex interpretative relationships between textual and visual narratives in two Holocaust and four American novels. The third chapter argues that the archive created by films is not only citational and referential but potentially rewrites history. The fleeting traumatic revelations in Vertigo, Chinatown, Taxi Driver, The Searchers, Chan is Missing, and The Return of Navajo Boy acknowledge the impact and implications of trauma while creating collective memories through cinema. Similarly, the brief moments of idealized community in Toni Morrison's novels move the readerly experience out toward the current sociopolitical moment. The ambiguous endings of The Bluest Eye, Beloved, and Paradise open quietly kept narratives to history and recuperate traumatized voices that represent our past and call us to our present.
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Engel, Grace Eve Cheaney. "“The Utter Reality of Characterization”; Presentational and Representational Work in Kenneth Branagh’s Much Ado About Nothing." University of Toledo Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1294188870.

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Linder, Kathryn E. "Narratives of Violence, Myths of Youth: American Youth Identity in Fictional Narratives of School Shootings." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298851564.

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Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.

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Iglesias, Pascual Hector. "Chile coliza: cuerpos, espacios discursivos y redes sociales en la literatura y el cine chileno contemporaneo de tematica LGBTQ." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590402161795102.

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Books on the topic "Literature|Gender studies|Film studies"

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Larsson, Stieg. Uomini che odiano le donne. Italia: Marsilio Editori, 2007.

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Девушка с татуировкой дракона. Moskva: Ėksmo, 2010.

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Miho, Hellen Halme, and Iwasawa Masatoshi, eds. Doragon tatū no onna. Tōkyō: Hayakawa Shobō, 2011.

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Larsson, Stieg. The girl with the dragon tattoo. New York: Random House Large Print, 2009.

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Larsson, Stieg. The girl with the dragon tattoo. London: MacLehose Press, 2008.

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Larsson, Stieg. The Girl with the Dragon Tattoo. 6th ed. New York, USA: Vintage Crime/Black Lizard, 2009.

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The Girl with the Dragon Tattoo. New York, USA: Random House Large Print, 2008.

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Larsson, Stieg. Män som hatar kvinnor. Stockholm: Norstedt, 2005.

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Larsson, Stieg. The Girl with the Dragon Tattoo. New York, USA: Vintage Crime/Black Lizard, 2009.

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The Girl with the Dragon Tattoo. New York, USA: Alfred A. Knopf, 2008.

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Book chapters on the topic "Literature|Gender studies|Film studies"

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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Amateur Women Filmmakers as Producers of Cultural Meaning." In British Women Amateur Filmmakers, 1–29. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0001.

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Amateur women film makers expressed their changing role in society, sense of selfhood and being in the world through film. It enabled them to negotiate the complexities of class, inheritance, status, authority, geography, convention and modernity. These films are part of the twentieth century's unofficial visual histories yet until recently they have been largely neglected in Britain’s public and private collections. This discussion sets women's filmmaking against wider histories of gender, social, economic, cultural and geo-political change. This framing allows the authors to discuss film production in Britain's contrasting national and colonial settings, to question subjectivities, probe at meanings and rework assumptions and expectations associated with British ways of life in and beyond the final decades of colonialism. Discussion introduces case-studies, methodologies and related literature so that readers may follow the broadly chronological structure of subsequent chapters and individual topics. Relevant archival sources related to colonial and British-based film making are identified, as are the specialist magazines for amateur film enthusiasts and the organisational support available via cine clubs and the Institute of Amateur Cinematography. Interdisciplinary and intentionally offering different interpretative approaches, this introductory overview offers a framework for reading on and a springboard of ideas for further research.
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