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Journal articles on the topic 'South African women artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Klassen, Teri. "Quilts: Conscience of the Human Spirit: The Life of Nelson Mandela: Tributes by Quilt Artists from South Africa and the United States (MacDowell and Mazloomi)." Museum Anthropology Review 11, no. 1-2 (2017): 26–28. http://dx.doi.org/10.14434/mar.v11i1.23500.

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This work is a book review considering the title Quilts: Conscience of the Human Spirit: The Life of Nelson Mandela: Tributes by Quilt Artists from South Africa and the United States: A Collaborative Project of Michigan State University Museum, Women of Color Quilters Network, and South African Quilt Artists by Marsha MacDowell and Carolyn L. Mazloomi.

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2

MESKIMMON, MARSHA. "THROUGH THE LOOKING GLASS: REPRESENTATIONS OF SELF BY SOUTH AFRICAN WOMEN ARTISTS." Art Book 13, no. 1 (2006): 31–33. http://dx.doi.org/10.1111/j.1467-8357.2006.00631.x.

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3

Coombes, Annie E. "Gender, ‘Race’, Ethnicity in Art Practice in Post-Apartheid South Africa: Annie E. Coombes and Penny Siopis in Conversation." Feminist Review 55, no. 1 (1997): 110–29. http://dx.doi.org/10.1057/fr.1997.7.

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Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any engaged artist, to the exclusion of many other concerns, the demise of apartheid offers the possibility of exploring other dimensions of lived experience in South Africa. For feminists, this is potentially a very positive moment when questions of gender – so long subordinated to the structural issue of ‘race’ under apartheid – can now be explored. Penny Siopis’ work has long been concerned with the lived and historical relations between black and white women in South Africa. The discussion focuses on the ambivalent and dependent relationships formed between white middle-class women and black domestic labour during apartheid. Siopis’ work engages with how the appropriation of black women's time, lives, labour and bodies has shaped her ‘own’ history.

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Burmann, Pauline. "The Thread of the Story: Two South African Women Artists Talk about Their Work:." Research in African Literatures 31, no. 4 (2000): 155–65. http://dx.doi.org/10.2979/ral.2000.31.4.155.

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5

Burmann, Pauline. "The Thread of the Story: Two South African Women Artists Talk about Their Work." Research in African Literatures 31, no. 4 (2000): 155–65. http://dx.doi.org/10.1353/ral.2000.0102.

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6

Blumberg, Marcia. "Domestic Place as Contestatory Space: the Kitchen as Catalyst and Crucible." New Theatre Quarterly 14, no. 55 (1998): 195–201. http://dx.doi.org/10.1017/s0266464x00012148.

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‘Kitchen-sink’ drama was a term used (in the main by its detractors) of the drama of the late 'fifties and 'sixties located outside the drawing-room milieu then preferred by conventional West End playwrights. It was always an inaccurate term, in that many of the plays so described neither took place in domestic kitchens nor – more to Marcia Blumberg's point – addressed the issue of the place's usual attendant: a woman. Recognizing the dominance of the kitchen as an icon, and of its related domestic chores as traditionally the tasks of women, two performance artists have recently, and in very different ways, explored the actuality of ‘Kitchen’ occupations and preoccupations. Bobby Baker's Kitchen Show (1991) used ‘found’ environments of actual kitchens, including her own, to produce ‘new and often subversive significations’, while in Kitchen Blues (1990) the South African dramatist Jeanne Goosen constructed a ‘complex feminist bricolage’ through the voices and actions of a quartet of women, embodying ‘the multiple intersections of gender in a shocking tragi-comic evocation of personal upheaval during a period of flux in South Africa’. Marcia Blumberg, herself a South African, has recently been teaching in Britain with the Open University.

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7

Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.

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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.

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8

Schmahmann, Brenda. "Developing Images of Self: Childhood, Youth and Family Photographs in Works by Three South African Women Artists." African Arts 45, no. 4 (2012): 8–21. http://dx.doi.org/10.1162/afar_a_00024.

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9

Pawłowska, Aneta. "Gender and Eroticism in Contemporary Art from South Africa." Werkwinkel 12, no. 1 (2017): 85–106. http://dx.doi.org/10.1515/werk-2017-0006.

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Abstract The aim of this article is to present the interaction between the history of lesbian and gay culture and its identity on the one hand, and the connection between the visual art or visual culture on the other hand. This essay endeavors to interpret the different meanings attached to sexual identities by examining the diverse artistic activities of a variety of artists: both men and women (e.g. Steven Cohen, Clive van den Berg, Andrew Verster, Nicolas Hlobo, Jean Brundrit, Zanele Muholi). Employing an intersectional analytical approach, the article shows that the identity of art is constructed alongside a person’s multiple identities, such as race, gender, family ties, religion and class. The main research question is whether in today’s visual art originating from South Africa, which is characterized by a hegemony of heterosexual stereotypes, there is a significant place for gender oriented art?

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10

Nel, A. "Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas." Literator 22, no. 3 (2001): 21–38. http://dx.doi.org/10.4102/lit.v22i3.1054.

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The colours of poem and paint: Antjie Krog in conversation with Marlene Dumas Antjie Krog engages South African born painter Marlene Dumas in an intertextual dialogue in her most recent anthology Kleur kom nooit alleen nie. This series of poems is titled “skilderysonnette” (sonnets of a painting). Six of the nine of Krog’s “word paintings” are eponymous with Dumas’s paintings and therefore almost require an examination of the interplay of the respective texts. This article examines the relationship between the relevant poems and paintings. The specific conversation between Krog’s word texts and Dumas’s paintings within the context of Krog’s anthology ultimately indicates intriguing similarities. It includes, inter alia, the struggle of both artists with the problem of “belonging” – Krog from an African perspective and Dumas from a European angle. Both are also concerned with the politics of colour. The politics of sex also figures in both their oeuvres in the third instance. The complexity of sexuality, eroticism and love is examined in the work of both these artists and is ultimately expressed in the voice/vision of the emancipated woman.

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11

WELLS, JULIA C. "EVA'S MEN: GENDER AND POWER IN THE ESTABLISHMENT OF THE CAPE OF GOOD HOPE, 1652–74." Journal of African History 39, no. 3 (1998): 417–37. http://dx.doi.org/10.1017/s0021853798007300.

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Quite possibly, Eva, born Krotoa, is the most written about African woman in South African historiography. Her name fills the journals of the Dutch East India Company almost from the very start of their little feeding-station at the Cape of Good Hope in 1652. She is known as a Khoena girl taken into Dutch commander Jan Van Riebeeck's household from the age of about twelve, who later became a key interpreter for the Dutch, was baptised, married Danish surgeon, Pieter Van Meerhoff, but then died as a drunken prostitute after his death. Yet her persona remains an enigma. As Christina Landman put it, ‘Krotoa is a story-generator’.To conservative historians, Eva's life offers living proof that the Khoena were irredeemable savages. To black nationalist writers, such as Khoena historian, Yvette Abrahams, she personifies the widespread rape and abuse of black women by the invaders. Eva's chief biographer, V. C. Malherbe, forms a more neutral judgment by describing Eva as primarily ‘a woman in between’. Landman views her as an early synthesizer of African and Christian religious traditions. Carli Coetzee demonstrates how recent Afrikaans-speaking artists, poets and actors have constructed an image of Eva as the mother of the Afrikaner nation, a tamed African who acquiesced to Europeanness. She is often portrayed as yearning to return to her African roots, but without success.Virtually all of the representations of Eva construct her as a helpless victim of vicious culture clashes. Today's racial consciousness, laced with assumptions of inevitable African/European hostility, is often read back into the historical record. Frustratingly large gaps in that record leave room for a wide range of interpretations, depending heavily on the subjectivities of the historian. Virtually all previous writers, however, have judged Eva primarily by the tragic circumstances of her death, while minimizing the considerable achievements of her earlier years.

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12

McInnis, Jarvis C. "Black Women’s Geographies and the Afterlives of the Sugar Plantation." American Literary History 31, no. 4 (2019): 741–74. http://dx.doi.org/10.1093/alh/ajz043.

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Abstract This essay examines how several contemporary black women artists—Attica Locke, Natalie Baszile, Beyoncé, Ava DuVernay, and Kara Walker—interrogate the afterlives of the sugar plantation in present day literature, performance, and visual art. Drawing on Katherine McKittrick’s conceptualization of “black women’s geographies,” I show how these artists turn to the landscape and built environment of the sugar plantation and factory to restore black women and the US South to the global history of sugar. Part one, “Plantation Pasts,” examines Locke’s 2012 novel, The Cutting Season, alongside Kara Walker’s 2014 installation, A Subtlety, or the Marvelous Sugar Baby, as critiques of the sugar plantation’s ongoing economic viability through plantation tourism and modern agribusiness. By foregrounding a “logic of perishability” that insists on the plantation’s dissolution and demise, Locke and Walker interrogate these sugar plantation afterlives to exhume, expose, and ultimately revise buried histories of racial dispossession and consumption in the US and global sugar industries. Part two, “Plantation Futures,” examines how Natalie Baszile’s 2014 novel, Queen Sugar, its television adaptation created by Ava DuVernay, and several of Beyoncé’s music videos—“Déjà Vu” (2006), “Formation” (2016), and the visual album Lemonade (2016)—“return” to Louisiana’s sugar plantation geographies to confront the violent histories of slavery and Jim Crow and to reconcile African Americans’ contentious relationship to land, agriculture, and contemporary southern identity in the post-Civil Rights era. Given the limits of colonial and state archives of slavery, I argue that these artists reestablish the landscape and architecture of the sugar plantation and factory as counter-archives, wherein the slave cabin, big house, refinery, and cane fields are figured as contested sites of official history and memory. In doing so, they “respatialize” hegemonic geographies, exposing and indicting the persisting legacies of racial-sexual dispossession and violence, on one hand, and positing embodied practices of pleasure, mourning, and collectivity as modes of “reterritorialization” on the other, imagining a new relationship to land, agriculture, and the earth.

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13

Motsamayi, Mathodi Freddie. "An Assessment of Artistic Literacy as a Way of Creating Sustainable Livelihoods in South Africa: A Case Study of Women Artists in Limpopo Province." International Journal of Literacies 27, no. 2 (2020): 17–27. http://dx.doi.org/10.18848/2327-0136/cgp/v27i02/17-27.

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14

Condon, R. "FOUR SOUTH AFRICAN ARTISTS." Nka Journal of Contemporary African Art 1996, no. 5 (1996): 68. http://dx.doi.org/10.1215/10757163-5-1-68.

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15

Oguibe, Olu. "Holding unto own space: Eight African women artists." Third Text 7, no. 23 (1993): 131–35. http://dx.doi.org/10.1080/09528829308576426.

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16

Young, Elise, and Zengie Mangaliso. "South African and African American Women." Meridians 3, no. 1 (2002): 191–200. http://dx.doi.org/10.1215/15366936-3.1.191.

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17

Turner, Margaret E. "South African Women Writers." World Literature Written in English 29, no. 2 (1989): 171–73. http://dx.doi.org/10.1080/17449858908589112.

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18

Miller, Kim. "Trauma, Testimony, and Truth: Contemporary South African Artists Speak." African Arts 38, no. 3 (2005): 40–94. http://dx.doi.org/10.1162/afar.2005.38.3.40.

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19

Qureshi, Irna, and Naiza Khan. "Women artists and male artisans in South Asia." South Asian Popular Culture 9, no. 1 (2011): 81–88. http://dx.doi.org/10.1080/14746689.2011.553892.

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20

Faxon, Alicia Craig, Jontyle Theresa Robinson, and Howardena Pindell. "Bearing Witness: Contemporary Works by African American Women Artists." Woman's Art Journal 19, no. 2 (1998): 55. http://dx.doi.org/10.2307/1358412.

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21

Mabandla, Brigitte. "Choices for South African Women." Agenda, no. 20 (1994): 22. http://dx.doi.org/10.2307/4065865.

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22

Gray, Stephen. "WOMEN IN SOUTH AFRICAN THEATRE." South African Theatre Journal 4, no. 1 (1990): 75–87. http://dx.doi.org/10.1080/10137548.1990.9687996.

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23

Ater, Renée. "Creating Their Own Image: A History of African-American Women Artists: African Queen." African Arts 38, no. 2 (2005): 82–83. http://dx.doi.org/10.1162/afar.2005.38.2.82.

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24

Ojoniyi, Olabode Wale. "The ghosts that will not be laid to rest: a critical reading of “Abantu Stand”." International Journal of Pedagogy, Innovation and New Technologies 5, no. 2 (2018): 51–56. http://dx.doi.org/10.5604/01.3001.0012.9675.

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This paper centres on an existential consciousness reading of the production of “Abantu Stand” by Rhodes University Theatre. “Abantu Stand” is a product of pieces of workshop sketches on current social, economic and political conversations in South Africa. From my participation in the back stage conversations of the artists and the production crew towards the final making of the production, to the discussions with the audience after each performance, I realise that, of a truth, as the closing song of the performance re-echoes, “It is not yet uhuru” for the South Africans, particularly, the people on the peripheral of the society!” In “Abantu Stand,” in spite of her post-apartheid status, South Africa appears as a volatile contested space. Of course, in reality, in many areas, 70 to 85% of lands remain in the hands of the settlers. There are towns and settlements outside of towns – for till now, majority of the blacks live in shanties outside the main towns. Inequality, mutual suspicion, mismanagement and oppression operate at different levels of the society – from race to race, gender to gender and tribe to tribe. There is the challenge of gender/sexual categorisation and the tension of “coming out” in relation to the residual resisting traditional culture of heterosexuals. The sketches in the performance are woven around these contentious issues to give room for free conversations. The desire is to provoke a revolutionary change. However, one thing is evident: South Africa, with the relics of apartheid, is still a state in transition.

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25

Schettini, Cristiana. "South American Tours: Work Relations in the Entertainment Market in South America." International Review of Social History 57, S20 (2012): 129–60. http://dx.doi.org/10.1017/s0020859012000454.

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SummaryThis article explores the relationships between young European women who worked in the growing entertainment market in Argentine and Brazilian cities, and the many people who from time to time came under suspicion of exploiting them for prostitution. The international travels of young women with contracts to sing or dance in music halls, theatres, and cabarets provide a unique opportunity to reflect on some of the practices of labour intermediation. Fragments of their experiences were recorded by a number of Brazilian police investigations carried out in order to expel “undesirable” foreigners under the Foreigners Expulsion Act of 1907. Such sources shed light on the work arrangements that made it possible for young women to travel overseas. The article discusses how degrees of autonomy, violence, and exploitation in the artists’ work contracts were negotiated between parties at the time, especially by travelling young women whose social experiences shaped morally ambiguous identities as artists, prostitutes, and hired workers.

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26

Parpart, Jane L., Margaret Jean Hay, Sharon Stichter, Heike Zanzig, and Marianne Weiss. "African Women South of the Sahara." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 21, no. 2 (1987): 278. http://dx.doi.org/10.2307/484387.

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27

Roberts, Penelope, Margaret Jean Hay, and Sharon Stichter. "African Women South of the Sahara." International Journal of African Historical Studies 18, no. 4 (1985): 739. http://dx.doi.org/10.2307/218816.

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28

Erwee, Ronel. "South African Women: Changing Career Patterns." International Studies of Management & Organization 16, no. 3-4 (1986): 174–89. http://dx.doi.org/10.1080/00208825.1986.11656439.

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29

Parry, Lynn. "South African women: an intercultural perspective." Communicatio 26, no. 2 (2000): 65–72. http://dx.doi.org/10.1080/02500160008537914.

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30

Steinegger, Margaret. "SOUTH AFRICAN WOMEN AND THE KAIROS." Exchange 20, no. 2 (1991): 150–51. http://dx.doi.org/10.1163/157254391x00067.

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31

Whitaker, Jennifer Seymour, Margaret Jean Hay, and Sharon Stichter. "African Women South of the Sahara." Foreign Affairs 63, no. 5 (1985): 1134. http://dx.doi.org/10.2307/20042456.

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32

Nettleton, Anitra. "Home Is Where the Art Is: Six South African Rural Artists." African Arts 33, no. 4 (2000): 26. http://dx.doi.org/10.2307/3337790.

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33

Nettleton, Anitra. "Writing Artists into History: Dumile Feni and the South African Canon." African Arts 44, no. 1 (2011): 8–25. http://dx.doi.org/10.1162/afar.2011.44.1.8.

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34

Faxon, Alicia Craig, and Lisa E. Farrington. "Creating Their Own Image: The History of African-American Women Artists." Woman's Art Journal 26, no. 2 (2005): 45. http://dx.doi.org/10.2307/3598099.

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35

Caffrey, Margaret M. "Creating Their Own Image: The History of African-American Women Artists." History: Reviews of New Books 33, no. 4 (2005): 132. http://dx.doi.org/10.1080/03612759.2005.10526614.

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36

Paton, David. "The Bookness of a Book: Cataloging Affect in South African Artists’ Books." Library Trends 68, no. 3 (2020): 521–48. http://dx.doi.org/10.1353/lib.2020.0004.

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37

Dreyer, Elfriede. "Functionality and Social Modernism in the Work of Untrained South African Artists." Third Text 26, no. 6 (2012): 767–79. http://dx.doi.org/10.1080/09528822.2012.732288.

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38

Escalante, Luis Enrique, Hélène Maisonnave, and Margaret Raviro Chitiga. "Do South African fiscal reforms benefit women?" Applied Economics 53, no. 6 (2020): 719–29. http://dx.doi.org/10.1080/00036846.2020.1813247.

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39

Zungu, Mthunzi, Nozipho Manqele, Calda de Vries, Thato Molefe, and Muziwandile Hadebe. "HERstory: Writing women into South African history." Agenda 28, no. 1 (2014): 7–17. http://dx.doi.org/10.1080/10130950.2014.871459.

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40

Walker, L., and L. Gilbert. "HIV/AIDS: South African women at risk." African Journal of AIDS Research 1, no. 1 (2002): 75–85. http://dx.doi.org/10.2989/16085906.2002.9626547.

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41

Downey, Georgina. "Armchair tourists: Two ‘furniture portraits’ by expatriate South Australian women artists." Journal of Australian Studies 27, no. 80 (2003): 87–98. http://dx.doi.org/10.1080/14443050309387915.

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42

Verwey, Ingrid. "Women helping women: outcomes of a South African pilot project." Journal of Engineering, Design and Technology 6, no. 2 (2008): 162–77. http://dx.doi.org/10.1108/17260530810891298.

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PurposeThis paper reviews how women help women in the South African Women in Construction (SAWIC) organization to effectively participate in projects. In a pilot project partnering with industry stakeholders, the Development Bank of Southern Africa as incubator of SAWIC, further explored what support women contractors required to succeed, tested mentoring and coaching as part of enterprise development.Design/methodology/approachRelevant literature were studied and analysed, testing the views and measure of success of women contractors against existing models. A survey instrument was developed to test the constructs empirically.FindingsThe empirical testing of success as a construct indicated that women overwhelmingly view mentoring and coaching as key capacity building and growth strategies towards successful women‐owned construction enterprises, underpinned by preliminary indications of the almost complete pilot study.Research limitations/implicationsA limitation to the study is that it is based on preliminary findings and limited scope of the civil project.Practical implicationsGiven the excellent results of the Cronbach α and factor analysis, the instrument developed proved to be reliable and valid and could be used for similar studies.Originality/valueKnowledge sharing of lessons learnt in the joint initiative between government, the building industry, development finance institutions and women associations towards addressing critical skills shortages and gender equity.

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43

Kotzé, Elmarie, Lishje Els, and Ntsiki Rajuili-Masilo. "“Women … Mourn and Men Carry On”: African Women Storying Mourning Practices: A South African Example." Death Studies 36, no. 8 (2012): 742–66. http://dx.doi.org/10.1080/07481187.2011.604463.

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44

Ramanna, Nishlyn. "Musical Echoes: South African Women Thinking in Jazz." Journal of Southern African Studies 38, no. 4 (2012): 1014–15. http://dx.doi.org/10.1080/03057070.2012.749612.

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45

Hickson, Joyce, and Martin Strous. "The Plight of Black South African Women Domestics." Journal of Black Studies 24, no. 1 (1993): 109–22. http://dx.doi.org/10.1177/002193479302400107.

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46

Attanasi, Katherine. "Professional Women in South African Pentecostal Charismatic Churches." Pneuma 33, no. 2 (2011): 282–83. http://dx.doi.org/10.1163/027209611x575087.

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47

Davies, Carole Boyce. "Finding Some Space: Black South African Women Writers." A Current Bibliography on African Affairs 19, no. 1 (1986): 31–45. http://dx.doi.org/10.1177/001132558701900105.

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48

Burnett, Cora. "Women, poverty and sport: A South African scenario." Women in Sport and Physical Activity Journal 11, no. 1 (2002): 23–47. http://dx.doi.org/10.1123/wspaj.11.1.23.

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The voices of South African feminists and womanists are relatively absent from public debates concerning women’s participation and empowerment in sport. This paper represents a contribution to the gender discourse, drawing on feminist paradigms and reflecting on the marginality of South African women in society and in sport. The findings of two separate studies, undertaken in 1977 and 1999 respectively, are reported. The research focused on the assessment of the impact of the Sports Leaders Programme (as part of the South Africa-United Kingdom Sports Initiative) and the junior component of the sports development programme initiated by the Australian Sports Commission (Super Kidz). Data were collected by means of structured interviews from different stakeholders at macro- (national), meso- (community/institutional) and micro- (individual) levels. A representative sample for the Sports Leaders Programme included 17 co-ordinators and facilitators (at national and provincial levels) and nine sports leaders at community level. To obtain qualitative data concerning the Super Kidz Programme, two provinces were targeted for data collection. A quota sample of seven schools was selected as the experimental group (having introduced the programme) and five schools in close proximity acted as controls. One hundred and forty-four role-players at different levels of participation were interviewed. To obtain some triangulation of data, 110 role-players also participated in focus groups. The data reflecting the position and involvement of women in these programmes were analysed. Against the reality of the majority of women living in conditions of chronic poverty, exposed to patriarchy, being ideologically stereotyped and structurally marginalized, they were, to a large extent absent, and their efforts unrecognised in the institutionalised domain of sport. It was concluded that sport is a severely gendered domain in which male hegemony is acted out and perpetuated whereas women in impoverished communities view access to sport as peripheral in their everyday struggle for material survival. National agencies should therefore not rely on female volunteers to facilitate sports development in impoverished communities but to strategize differently while also redressing ideological and structural gender inequalities in the wider social context.

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49

Haupt, Theo, and Ferdinand Fester. "Women‐owned construction enterprises: a South African assessment." Journal of Engineering, Design and Technology 10, no. 1 (2012): 52–71. http://dx.doi.org/10.1108/17260531211211881.

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50

Inglese, Francesca. "Musical Echoes: South African Women Thinking in Jazz." Journal of the Musical Arts in Africa 11, no. 1 (2014): 125–28. http://dx.doi.org/10.2989/18121004.2014.995444.

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