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Relevant bibliographies by topics / Women artists – history

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Academic literature on the topic 'Women artists – history'

Author: Grafiati

Published: 26 July 2024

Last updated: 27 July 2024

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Journal articles on the topic "Women artists – history"

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Casteras, Susan P., Jan Marsh, Pamela Gerrish Nunn, and National Gallery of Art. "Pre-Raphaelite Women Artists." Art Bulletin 80, no. 4 (December 1998): 750. http://dx.doi.org/10.2307/3051324.

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Mettler, Liselotte. "Women Surgeons And Women Artists “History, Power, Challenges And Opportunities”." Reproductive Medicine, Gynecology & Obstetrics 5, no. 4 (November 6, 2020): 1–6. http://dx.doi.org/10.24966/rmgo-2574/100062.

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This article was written after “women’s surgeon lunch meeting” was organized by European Society of Gynecological Endoscopy (ESGE) during their annual conference in August 2019 at Thessaloniki, Greece.

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Weatherford, K. J. "Courageous Souls: Kate Chopin's Women Artists." American Studies in Scandinavia 26, no. 2 (September 1, 1994): 96–112. http://dx.doi.org/10.22439/asca.v26i2.1457.

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Klein, Bettina, and Patricia Fister. "Japanese Women Artists, 1600-1900." Monumenta Nipponica 44, no. 1 (1989): 128. http://dx.doi.org/10.2307/2384710.

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Kevin, Catherine. "So Fine. Contemporary Australian Women Artists Make History." History Australia 16, no. 1 (January 2, 2019): 212–14. http://dx.doi.org/10.1080/14490854.2019.1582410.

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Muñoz López, Pilar. "Las publicaciones y la investigación sobre mujeres artistas en España." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 317. http://dx.doi.org/10.25115/raudem.v3i0.633.

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Resumen: El tema de las mujeres artistas ha sido escasamente tratado en la abundante bibliografía de Historia del Arte. La mayor parte de las publicaciones que se han editado en los últimos años son fundamentalmente de carácter divulgatorio de la actividad de las artistas en el contexto internacional y en nuestro país. En el artículo se revisan los libros y artículos publicados y, finalmente, se exponen los contenidos de mi obra Artistas españolas en la dictadura de Franco. 1939-1975, que, desde una perspectiva histórica, trata de dar a conocer la actividad creativa de muchas artistas españolas en este periodo histórico. Publications and Research about Women Artists in Spain Abstract: The topic of Women Artists has been hardly presented in abundant bibliography of Art History. The majority of publications issued in latest years are popular science books about the activity of artists in an international context and in our country. In this paper I revise books and articles, and finally, I thoroughly explain thoroughly the contents of my book Artistas españolas en la dictadura de Franco. 1939-1975, which from an historic perspective, attempts to show the prominence of creative activity from many Spanish women artists in this historic period.

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Simpson, Pamela H., and Nancy G. Heller. "Women Artists: An Illustrated History, Revised and Expanded Edition." Woman's Art Journal 13, no. 1 (1992): 49. http://dx.doi.org/10.2307/1358264.

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Rowe, Dorothy. "Women Artists and the Limits of Modernist Art History." Art History 23, no. 1 (March 2000): 130–29. http://dx.doi.org/10.1111/1467-8365.00200.

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Johnson, Deborah, Mirella Bentivoglio, and Franca Zoccoli. "Women Artists of Italian Futurism: Almost Lost to History." Art Journal 57, no. 3 (1998): 98. http://dx.doi.org/10.2307/777981.

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Matynia, Elzbieta. "Poland Provoked: How Women Artists En-Gender Democracy." Current History 105, no. 689 (March 1, 2006): 132–38. http://dx.doi.org/10.1525/curh.2006.105.689.132.

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It is women artists who, by entering into an open debate with central elements of the Polish cultural tradition, pose the main questions concerning the nature of democratic citizenship, toleration, and pluralism.

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Dissertations / Theses on the topic "Women artists – history"

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Deepwell, Catherine Naomi. "Women artists in Britain between the two world wars." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282800.

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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.

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Photiou, Maria. "Rethinking the history of Cypriot art : Greek Cypriot women artists in Cyprus." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12139.

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This thesis brings together women artists art practices situated in five key periods of Cyprus socio-political history: British colonial rule, anti-colonial struggle, 1960 Independent, the 1974 Turkish invasion and its aftermath of a divided Cyprus, which remains the case in the present day. Such study has not been done before, and for this, the current thesis aims to provide a critical knowledge of the richness and diversity of Greek Cypriot women's art practices that have frequently been marginalised and rarely been written about or researched. As the title suggests, this thesis engages in rethinking the history of Cypriot art by focusing on the art produced by women artists in Cyprus. By focusing primarily on the work of Greek Cypriot women artists I am interested to explore the conditions within which, through which and against which, women negotiate political processes in Cyprus while making art that is predominantly engaged in specific politicised patterns. The meeting point for the artists is their awareness of being women artists living in a colonised, patriarchal country under Greek Cypriot nationality. While these artists assumed very different positions in their experience of the several phases of Cyprus history, they all negotiate in their practice territorial boundaries and specific identity patterns. Significant to my thesis are a number of questions that I discuss in relation to women artists professional careers and private lives: nationalism, militarism, patriarchy, male dominance, social and cultural codes, ethnic conflict, trauma, imposed displacement through war, memory and women's roles, especially as mothers, in modern and contemporary Cyprus. Thus, I address questions of how women artists in Cyprus experienced such phenomena and how these phenomena affected both their lives and their art practices.

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Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.

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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.

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Tolley, Rebecca. "Review of Life Stories of Women Artists 1550-1800." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etsu-works/5654.

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Malone, Kelsey Frady. "Sisterhood as Strategy| The Collaborations of American Women Artists in the Gilded Age." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877154.

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This dissertation employs four case studies—illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans—to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the “professional” artist.

“Sisterhood as Strategy” intersects with important work in the fields of American History, Women’s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women’s artistic production and more focused scholarly studies on women’s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists’ letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies’ magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.

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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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Johnson, Julie Anne. "Conflicted Selves: Women, Art, & Paris 1880-1914." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1591.

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Tolley, Rebecca. "Review of A Studio of Her Own: Women Artists in Boston 1870-1940." Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5705.

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Tvardovskas, Luana Saturnino 1983. "Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.

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Orientador: Luzia Margareth Rago
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História

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Books on the topic "Women artists – history"

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Women artists. New York: Universe, 2008.

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Women artists. Munich: Prestel, 2003.

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Epstein, Vivian Sheldon. History of women artists for children. Denver, Colo: VSE Publisher, 1987.

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Epstein, Vivian Sheldon. History of women artists for children. Denver: VSE, 1987.

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Beckett, Wendy. Contemporary women artists. New York: Universe Books, 1988.

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Beckett, Wendy. Contemporary women artists. New York: Universe Books, 1988.

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Victorian women artists. London: Women's Press, 1987.

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Cherry, Deborah. Painting women: Victorian women artists. London: Routledge, 1993.

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Booker, Brenda Brin. Five Women Artists Plus: Women working together. Marlow: Five Women Artists Plus, 2000.

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Booker, Brenda Brin. Five women artists plus: Women working together. Marlow: Five Women Artists Plus, 2000.

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Book chapters on the topic "Women artists – history"

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Kalita, Pooja. "‘Art’ of Ethnography: Feminist Ethnography and Women Artists in South Asia." In Intersections of Contemporary Art, Anthropology and Art History in South Asia, 93–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05852-4_4.

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Champion, Tori. "Pazienza e diligenza: Early Modern Women Artists in the Genre of Natural History." In Women in Arts, Architecture and Literature: Heritage, Legacy and Digital Perspectives, 287–301. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.wia-eb.5.134657.

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Wong, Wendy Siuyi. "On Transnationality: A History of Negotiations of Self-Identity in Selected Works by Women Comic Artists in Hong Kong." In Transnationalism in East and Southeast Asian Comics Art, 25–51. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95243-3_2.

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Gammaitoni, Milena. "Education and Women Artist in Italy." In The History and Life Stories of European Women in the Arts, 173–80. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94456-8_9.

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Mokhtar, Umairah Arina, Juliana Manan, and Rafeah Legino. "Women Artist in Malaysian Visual Art History and Development." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 421–28. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_42.

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Ojala-Fulwood, Maija. "Migration, Marriage and Integration: Town Court Records and Imprints of Women Artisan Migrants in Sweden c. 1590‒1640." In Palgrave Studies in Economic History, 297–322. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99554-6_9.

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Olibet, Ylenia, and Alanna Thain. "Vidéo de Femmes Dans le Parc: Feminist Rhythms and Festival Times Under Covid." In Rethinking Film Festivals in the Pandemic Era and After, 155–75. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_8.

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AbstractVidéo de Femmes dans le Parc (VFP) (Women’s Videos in the Park) is a summertime open-air screening of independent short videos, held annually since 1991 at Park La Fontaine in Montreal, Canada, by Groupe Intervention Vidéo (GIV), an independent feminist/queer distribution company. In this essay, we explore VFP’s historical use of public space and its reimagination under Covid’s urgent sanitary crisis and chronic social inequities. Within the media ecology of Montreal’s outdoor cinemas, we see GIV’s creative decision to move VFP online during Covid as part of a longer history of alternative media’s unconventional exhibition modes that address social inequalities. As such, we first situate VFP within GIV’s wider mandate of dissemination of video work by women. We then analyze VFP’s “visual architecture” under Covid, stressing the organizers’ original strategies to reproduce a sense of eventness even through online exhibition. We conclude with questions of embodied and affective labor, including audiences’ wellbeing, artist renumeration, and self-care, that the shift online entails for the organizers of VFP.

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Wilson, Emma. "Women writers, artists, and filmmakers." In The Cambridge History of French Literature, 680–88. Cambridge University Press, 2011. http://dx.doi.org/10.1017/chol9780521897860.077.

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Zheng, Wang. "Fashioning Socialist Visual Culture." In Finding Women in the State. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292284.003.0007.

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Xia Yan, the underground leader of the left-wing films in the 1930s and top official of the film industry in the PRC since 1954, embodied the cultural history of the CCP. A brief biography of this Communist feminist artist leader disrupts the reductive dichotomy of the Party vs. artists in film studies and illuminates a tension-ridden history of socialist filmmaking that constituted a highly contentious site in the socialist revolution. Situating his politically engagingartistic creativity inside ashiftingpolitical process, this chapter traces Xia Yan’s major role in transmitting the New Culture agenda of transforming a patriarchal culture in socialist cultural production and delineatesdiverse and contradictory politicalpositions and artistic preferences in artists’ innovative experimentsofcreating a socialist new culture. It also analyzes his films that continued the paradigm of revolutionary heroines.

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Comini, Alessandra. "Gender or Genius? The Women Artists of German Expressionism." In Feminism and Art History, 271–91. Routledge, 2018. http://dx.doi.org/10.4324/9780429500534-15.

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Conference papers on the topic "Women artists – history"

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Andreopoulou, Areti, and Visda Goudarzi. "Reflections on the Representation of Women in the International Conferences on Auditory Displays (ICAD)." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.031.

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This paper investigates the representation of women researchers and artists in the conferences of the International Community for Auditory Display (ICAD). In the absence of an organized membership mechanism and/or publicly available records of conference attendees, this topic was approached through the study of publication and authorship patterns of female researchers in ICAD conferences. Temporal analysis showed that, even though there has been an increase in the number of publications co-authored by female researchers, the annual percentage of female authors remained in relatively unchanged levels (mean = 17.9%) throughout the history of ICAD conferences. This level, even though low, remains within the reported percentages of female representation in other communities with related disciplines, such as the International Computer Music Association (ICMA) and the Conferences of the International Society for Music Information Retrieval (ISMIR), and significantly higher than in more audio engineering-related communities, such as the Audio Engineering Society (AES).

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Rutsinskaya, Irina, and Galina Smirnova. "VISUALIZATION OF EVERYDAY SOCIAL AND CULTURAL PRACTICES: VICTORIAN PAINTING AS A MIRROR OF THE ENGLISH TEA PARTY TRADITION." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/37.

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"Throughout the second half of the seventeen and the eighteenth centuries, tea remained an expensive exotic drink for Britain that “preserved” its overseas nature. It was only in the Victorian era (1837-1903) that tea became the English national drink. The process attracts the attention of academics from various humanities. Despite an impressive amount of research in the UK, in Russia for a long time (in the Soviet years) the English tradition of tea drinking was considered a philistine curiosity unworthy of academic analysis. Accordingly, the English tea party in Russia has become a leader in the number of stereotypes. The issue became important for academics only at the turn of the twentieth and twenty-first centuries. Currently, we can observe significant growth of interest in this area in Russia and an expansion of research into tea drinking with regard to the history of society, philosophy and culture. Despite this fact, there are still serious lacunas in the research of English tea parties in the Victorian era. One of them is related to the analysis of visualization of this practice in Victorian painting. It is a proven fact that tea parties are one of the most popular topics in English arts of the nineteenth and the twentieth centuries. No other art school in the world referred to the topic so frequently: painting formed the visual image of the English tea party, consolidated, propagandized and spread ideas of the national tea tradition. However, this aspect has been reflected neither in British nor Russian studies. Being descriptive and analytical, the present research refers to the principles of historicism, academic reliability and objectivity, helping to determine the principal trends and social and cultural features and models in Britain during the period. The present research is based on the analysis of more than one hundred genre paintings by British artists of the period. The paintings reflect the process of creating a special “truly English” material and visual context of tea drinking, which displaced all “oriental allusions” from this ceremony, to create a specific entourage and etiquette of tea consumption, and set nationally determined patterns of behavior at the tea table. The analysis shows the presence of English traditions of tea drinking visualization. The canvases of British artists, unlike the Russian ones, never reflect social problems: tea parties take place against the background of either well-furnished interiors or beautiful landscapes, being a visual embodiment of Great Britain as a “paradise of the prosperous bourgeoisie”, manifesting the bourgeois virtues. Special attention is paid to the role of the women in this ritual, the theme of the relationship between mothers and children. A unique English painting theme, which has not been manifested in any other art school in the world, is a children’s tea party. Victorian paintings reflect the processes of democratization of society: representatives of the lower classes appear on canvases. Paintings do not only reflect the norms and ideals that existed in the society, but also provide the set patterns for it."

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Saprikina, Olga. "Women on the Habsburg Throne: Historiographical and Artistic Images of the Austrian Rulers." 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/10.31168/0475-6.28.

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Pereira, Rafael da Silva, Ana Beatriz Alves de Oliveira, Jameson Moreira Belém, Emanuelly Vieira Pereira, and Ana Virginia de Melo Fialho. "Aspectos teóricos, metodológicos e analíticos de estudos que utilizaram a história oral com mulheres que vivem com vírus da imunodeficiência humana/aids: revisão integrativa." In XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p145.

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Introdução: O método de história oral possibilita que mulheres expressem por iniciativas próprias anseios, medos, barreiras e sentimentos desenvolvidos pelo diagnóstico de vírus da imunodeficiência humana/aids, o que permite dar voz e visibilidade ao contexto de feminilização da epidemia. Objetivo: Caracterizar metodologicamente as pesquisas realizadas com mulheres que vivem com vírus da imunodeficiência humana/aids que utilizaram a história oral. Métodos: Revisão integrativa da literatura. As buscas pareadas ocorreram de julho e agosto de 2020 nas bases de dados Medical Literature Analysis and Retrieval System Online, Literatura Latino-Americana e do Caribe em Ciências da Saúde, Base de Dados em Enfermagem, Índice Bibliográfico Español en Ciencias de la Salud, Cumulative Index to Nursing and Allied Health Literature e biblioteca virtual Scientific Electronic Library Online, utilizando os descritores MeSH: Oral history, Women, HIV Infections, Acquired Immunodeficiency Syndrome. Foram identificados 12.378 estudos. Após aplicação dos filtros, critérios de inclusão e exclusão oito artigos compuseram a amostra. Os dados foram extraídos utilizando instrumento de elaboração própria, analisados utilizando o método de redução de dados, apresentados em tabela, figura, descritivamente e discutidos com a literatura. Resultados: Entre os subtipos de história oral, predominou a história oral temática. A coleta de dados variou de um a quatro meses, ocorrendo em cenários e contextos institucionais, utilizando principalmente entrevista individual. A faixa etária das participantes variou de 18 a 50 anos. Para organização e processamento dos dados predominou a utilização de categorias temáticas. As abordagens centraram-se em aspectos relacionados à infecção pelo vírus da imunodeficiência humana/aids predominantemente na faixa etária reprodutiva, nos contextos de gestação, amamentação e pós-parto. Conclusão: O método da história oral foi útil para investigar a complexidade de eventos e fenômenos que ocorrem no cotidiano de vida das mulheres que vivem com vírus da imunodeficiência humana/aids, entretanto identificou-se lacuna de conhecimento quanto à aplicabilidade do método com mulheres idosas.

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Reports on the topic "Women artists – history"

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.

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