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Books on the topic 'Undoing gender'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Butler, Judith. Undoing gender. New York: Routledge, 2004.

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2

Butler, Judith. Undoing gender. Boca Raton, [Fla.]: Routledge, Taylor & Francis Group, 2004.

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3

Volkmann, Constanze. Muslim Women in Austria and Germany Doing and Undoing Gender. Wiesbaden: Springer Fachmedien Wiesbaden, 2019. http://dx.doi.org/10.1007/978-3-658-23952-7.

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4

Butler, Judith. Undoing Gender. Routledge, 2004. http://dx.doi.org/10.4324/9780203499627.

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5

Undoing the Gender Binary. University of Cambridge ESOL Examinations, 2020.

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6

Kessels, Ursula. Undoing Gender in der Schule. Juventa, 2002.

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7

Butler, Judith. Deshacer el genero/ Undoing Gender (Paidos Studio). Ediciones Paidos Iberica, 2006.

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8

Sullivan, Maureen. Family of Woman: Lesbian Mothers, Their Children, and the Undoing of Gender. University of California Press, 2004.

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9

Sullivan, Maureen. Family of Woman: Lesbian Mothers, Their Children, and the Undoing of Gender. University of California Press, 2004.

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10

Pierotti, Rachael S., Milli Lake, and Chloe Lewis. Equality on His Terms: Doing and Undoing Gender through Men’s Discussion Groups. Sage Publications, 2018. http://dx.doi.org/10.1596/33335.

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11

Volkmann, Constanze. Muslim Women in Austria and Germany Doing and Undoing Gender: Making Gender Differences and Hierarchies Relevant or Irrelevant. Springer VS, 2018.

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12

Sawhney, Rashmi. Revising the Colonial Past, Undoing “National” Histories. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0012.

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This chapter investigates the historical imagination of 1980s Indian women filmmakers seeking “companionship” with generations of women enduring or resisting convention in India's colonial past. Leveraging the emergence in the 1980s of an Indian women's cinema—and reflecting on the cinematic construction of gender debates in colonial India through its films, the chapter highlights the challenges they pose to establishing “national” narratives of gender or film history. Three films about gender and reform in late-nineteenth and early-twentieth-century colonial India are discussed: Phaniyamma (Prema Karanth, 1983), Rao Saheb (Vijaya Mehta, 1986), and Sati (Aparna Sen, 1989). Together these films present a constellation that supports the development of a feminist historiography of Indian cinema. The chapter also considers how literature on Indian regional cinemas, published in regional languages with little translation, has contributed to the marginalization of such cinemas in the construction of Indian film history.

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13

The Family of Woman: Lesbian Mothers, Their Children, and the Undoing of Gender. University of California Press, 2004.

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14

The Family of Woman: Lesbian Mothers, Their Children, and the Undoing of Gender. University of California Press, 2004.

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15

Blumenthal, Dara. Little Vast Rooms of Undoing: Exploring Identity and Embodiment Through Public Toilet Spaces. Rowman & Littlefield Publishers, Incorporated, 2014.

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16

Little vast rooms of undoing: Exploring identity and embodiment through public toilet spaces. 2014.

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17

Undoing Difference?: Race and Gender in Selected Works by Toni Morrison and Jeanette Winterson. Universitätsverlag Winter, 2012.

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18

Goethe As Woman: The Undoing of Literature (Kritik: Erman Literary Theory and Cultural Studies). Wayne State University Press, 2001.

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19

Fay, Jennifer. Still Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.003.0005.

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China’s Three Gorges Dam is the largest hydroelectric megadam in world history and the subject of Jia Zhangke’s digital film Still Life (2006), Liu Xiaodong’s oil paintings, and Yang Yi’s digital photographs. Built in part to address the problems of global warming, the dam has had a number of surprising effects on the environment and has led to massive displacement of people to make way for the water. Jia populates his film with migrant workers, refugees, tourists, visitors, and even aliens from outer space, none of whom are at home in this world. Jia captures the city at the moment of its undoing, a place that is changing, he remarks, too fast for film. Reading Jia’s film together with Liu and Yang’s artwork and through the genre of still life painting, the chapter argues that Jia’s film envisions a kind of minimal hospitality that emerges when the world is past.

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