Journal articles: 'Women in rock'

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Lubin-Johnson, Niva. "Black Women Do Rock." Journal of the National Medical Association 111, no. 3 (2019): 233. http://dx.doi.org/10.1016/j.jnma.2019.06.002.

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Waksman, S. "Electric Ladyland: Women and Rock Culture." Journal of American History 92, no. 4 (2006): 1516–17. http://dx.doi.org/10.2307/4486029.

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Schippers, Mimi, and Mavis Bayton. "Frock Rock: Women Performing Popular Music." Contemporary Sociology 29, no. 6 (2000): 833. http://dx.doi.org/10.2307/2654102.

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Fucci, Donald, Linda Petrosino, and Molly Banks. "Effects of Gender and Listeners' Preference on Magnitude-Estimation Scaling of Rock Music." Perceptual and Motor Skills 78, no. 3_suppl (1994): 1235–42. http://dx.doi.org/10.2466/pms.1994.78.3c.1235.

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The purpose of the present study was to examine the effects of gender and listener preference on magnitude-estimation scaling of rock music. Four groups of young adults were tested: 14 women who liked rock music, 14 women who disliked rock music, 14 men who liked rock music, and 14 men who disliked rock music. Subjects were instructed to assign numerical values to a random series of nine suprathresh-old intensity levels of a 10-sec. sample of rock music. Analysis indicated that there was no difference in scaling performance between women and men. There was a difference in scaling performance between the group of women who liked rock music and the group of women who disliked rock music. There was no difference in the way the two groups of men performed the scaling task. These results suggest that men and women perform magnitude-estimation scaling of rock music similarly. Women, however, allow preference to influence how they choose numbers during magnitude-estimation scaling tasks whereas men do not.

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Daubney, Kate. "Frock Rock: Women Performing Popular Music (review)." Notes 57, no. 1 (2000): 159–60. http://dx.doi.org/10.1353/not.2000.0018.

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Ray, Mary Beth. "Women Who Rock Digital Oral History Archive." American Journalism 38, no. 2 (2021): 251–52. http://dx.doi.org/10.1080/08821127.2021.1912533.

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Mateu, Trinidad Escoriza. "Representations of women in Spanish Levantine rock art." Journal of Social Archaeology 2, no. 1 (2002): 81–108. http://dx.doi.org/10.1177/1469605302002001598.

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Peterson, Dena L., and Karen S. Pfost. "Influence of Rock Videos on Attitudes of Violence against Women." Psychological Reports 64, no. 1 (1989): 319–22. http://dx.doi.org/10.2466/pr0.1989.64.1.319.

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144 undergraduate men viewed rock videos which contained content that was erotic-violent, erotic-nonviolent, nonerotic-violent, or nonerotic-nonviolent. Exposure to nonerotic-violent rock videos resulted in significantly higher Adversarial Sexual Beliefs scores and ratings of negative affect. These and other findings are discussed in terms of Bandura's concept of emotional incompatibility and the frustration-aggression model.

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WALL, CHRISTOPHER B., JOANNA E. STAREK, STEVEN J. FLECK, and WILLIAM C. BYRNES. "PREDICTION OF INDOOR CLIMBING PERFORMANCE IN WOMEN ROCK CLIMBERS." Journal of Strength and Conditioning Research 18, no. 1 (2004): 77–83. http://dx.doi.org/10.1519/00124278-200402000-00011.

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Wall, Christopher B., Joanna E. Starek, Steven J. Fleck, and William C. Byrnes. "Prediction of Indoor Climbing Performance in Women Rock Climbers." Journal of Strength and Conditioning Research 18, no. 1 (2004): 77. http://dx.doi.org/10.1519/1533-4287(2004)018<0077:poicpi>2.0.co;2.

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Keyser, James D., Linea Sundstrom, and George Poetschat. "Women in War: Gender in Plains Biographic Rock Art." Plains Anthropologist 51, no. 197 (2006): 51–70. http://dx.doi.org/10.1179/pan.2006.003.

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Jacqueline Warwick. "Electric Ladyland: Women and Rock Culture (review)." American Studies 48, no. 1 (2010): 170–71. http://dx.doi.org/10.1353/ams.0.0052.

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Denyse, Tammie. "The Women Gather." Review & Expositor 114, no. 3 (2017): 442–56. http://dx.doi.org/10.1177/0034637317723335.

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The following poetic piece comes from a sermon originally preached on Monday, March 2, 2015, at the American Baptist Seminary of the West in Berkeley, California during the weekly chapel service fourteen months after my 21-year-old son was murdered. I have permission from my niece, Clanci, to use her name in this sermon. The introduction was added in June 2017. The lament, “The Women Gather,” as sung by the acapella group, Sweet Honey in the Rock, was chanted throughout the sermon and it is quoted in this written rendition of the message.

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Davies, Helen. "All rock and roll is homosocial: the representation of women in the British rock music press." Popular Music 20, no. 3 (2001): 301–19. http://dx.doi.org/10.1017/s0261143001001519.

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The British rock music press prides itself on its liberalism and radicalism, yet the discourses employed in music journalism exclude women from serious discussion both as musicians and as fans. In particular, the notion of credibility, which is of vital importance to the ‘serious’ rock music press, is constructed in such a way that it is almost completely unattainable for women.The most important and influential part of the British music press was until recently its two weekly music papers, Melody Maker (MM) and the New Musical Express (NME), both published by IPC magazines. The NME, launched in 1949, contains reviews, concert information and interviews with performers and describes itself as ‘a unique blend of irreverent journalism and musical expertise’ (www.ipc.co.uk). MM, which started life in 1926 as a paper for jazz musicians, had similar content but a greater emphasis on rock, as opposed to pop, music. It was relaunched in 1999 as a glossy magazine, before ceasing publication or, as IPC put it, merging with the NME, in December 2000.

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Appleby, Karen M., and Leslee A. Fisher. "“Female Energy at the Rock”: A Feminist Exploration of Female Rock Climbers." Women in Sport and Physical Activity Journal 14, no. 2 (2005): 10–23. http://dx.doi.org/10.1123/wspaj.14.2.10.

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Rock climbing has been traditionally defined as a “masculine” sport (Young, 1997). The experiences of women in this sport have rarely been studied. The purpose of this study was to investigate the experiences of high-level female rock climbers. Qualitative analysis of interviews with eight high-level female climbers (ages 19 to 30 years) revealed three general themes: (a) compliance to hegemonic gender norms, (b) questioning hegemonic gender norms, and (c) resisting hegemonic gender norms. A discussion and analysis of these themes suggests that these female rock climbers engaged in a process of negotiated resistance as they attained a climbing identity, gained acceptance into the climbing subculture, and increased performance in the sport of rock climbing.

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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.

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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.

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Larsen, Gretchen. "‘It’s a man’s man’s man’s world’: Music groupies and the othering of women in the world of rock." Organization 24, no. 3 (2017): 397–417. http://dx.doi.org/10.1177/1350508416689095.

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Groupies are understood as a particular type of fan that are most commonly associated with rock music. The ‘groupie’ identity is almost exclusively applied to female fans but sometimes also to female music producers and is largely used in a derogatory manner both by the popular media and by fans themselves. This article argues that the ‘groupie’ identity is used to ‘other’ and exclude women from creative production in rock music. This study draws on a rhetorical analysis of five published biographical accounts of groupies to examine how the labeling of certain people as ‘groupies’ works as an othering practice that serves to support and maintain the gendered norms of rock and identifies three underlying discursive processes. First, popular and music media played a significant role in stereotyping groupie as female right from the emergence of the label. Second, the notions of ‘credibility’ and ‘authenticity’, which are central to serious music journalism, are constructed in such a way as to stigmatize and therefore exclude women from rock, primarily by reframing ‘groupies’ as inauthentic consumers rather than proper fans. Finally, the intertwining of femininity with fandom, as occurs in groupiedom, serves to magnify cultural assumptions about women as sex objects and as passive consumers of mass culture. In elucidating both the gender and marketplace role politics at play in the ‘groupie’ identity and the mechanisms involved in othering women, space is opened in which alternative possibilities for understanding and enacting the role of women in rock can be imagined.

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Vincent, Richard C., Dennis K. Davis, and Lilly Ann Boruszkowski. "Sexism on MTV: The Portrayal of Women in Rock Videos." Journalism Quarterly 64, no. 4 (1987): 750–941. http://dx.doi.org/10.1177/107769908706400410.

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Bergen, Teresa. "Reviews of Girls Rock: Fifty Years of Women Making Music." Oral History Review 32, no. 2 (2005): 122–24. http://dx.doi.org/10.1525/ohr.2005.32.2.122.

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Lane, Temryss MacLean. "The frontline of refusal: indigenous women warriors of standing rock." International Journal of Qualitative Studies in Education 31, no. 3 (2018): 197–214. http://dx.doi.org/10.1080/09518398.2017.1401151.

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Ladd, Amy L. "Gendered Innovations in Orthopaedic Science: Women (and Men) Who Rock." Clinical Orthopaedics and Related Research® 473, no. 8 (2015): 2460–63. http://dx.doi.org/10.1007/s11999-015-4391-x.

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WASILEWSKA, Magdalena, Karolina ŁAPETA, Patryk TULKE, et al. "STRETCHING IN ROCK CLIMBERS." Medycyna Manualna 1, no. 3 (2020): 21–26. http://dx.doi.org/10.5604/01.3001.0013.8441.

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Introduction: Muscle stretching is defined as a approach of performing exercises which improve flexibility of the muscles. This is an important aspect of normal human function because it can influence the amplitude and economy of a movement. The aim: The aim of the study was to reveal the role of stretching among climbers. Material and methods:The study group consisted of 88 rock climbers, in the range of 24 to 84 years old, including 34 women (39%) and 54 men (61%). The study was conducted using anonymous electronic questionnaire. Results: The question about the level of advancement in climbing "beginner level" was declared by 22 (25%) climbers, "medium level" - 31 (35%), "intermediate level" - 23 (26%) and "advanced" - 12 (14%). The most frequent parts of the body stretching through climbers are the shoulder and upper limb - 42 (48%), lower limb - 27 (31%) and pelvis 19 (21%). Stretching after each training was used by 39 (44%) climbers, less than once a week 11 (12%) climbers. C o n c l u s i o n s : 1 . S t r e t c h i n g minimizes injuries in climbing. 2. Stretching is used as part of the warm-

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FEIGENBAUM, ANNA. "‘Some guy designed this room I’m standing in': marking gender in press coverage of Ani DiFranco." Popular Music 24, no. 1 (2005): 37–56. http://dx.doi.org/10.1017/s0261143004000285.

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Examining ways in which gender is marked in the press coverage of self-produced, folk-rock artist and record label owner Ani DiFranco, this paper explores how language employed in rock criticism frequently functions to devalue and marginalise women artists' musicianship, influence on fans, and contribution to the rock canon. Investigating how the readerships of different publications may influence the ways in which journalists mark gender in rock criticism, this study utilises a corpus of 100 articles on Ani DiFranco published between 1993 and 2003 from print and online magazines and newspapers in Canada, the United States and the United Kingdom. Focusing on the use of inter- and intra-gender artist comparisons, adjectival gender markers and ‘metaphorical gender’ markers in artist background information, lyrical and musical analyses and descriptions of fans, this analysis maps the discursive conventions that music critics and theorists continue to rely on in reviews and profiles of women artists.

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Brunson, Deborah A. "A Review of “Elizabeth and Hazel: Two Women of Little Rock”." Multicultural Perspectives 14, no. 4 (2012): 234–36. http://dx.doi.org/10.1080/15210960.2012.725340.

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Raju, Saraswati, and Satish Kumar. "Who Rock the Cradle? Women, Fertility Control and Technology in India." Indian Journal of Public Administration 38, no. 3 (1992): 323–32. http://dx.doi.org/10.1177/0019556119920312.

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Pechtelidis, Yannis, Yvonne Kosma, and Anna Chronaki. "Between a rock and a hard place: women and computer technology." Gender and Education 27, no. 2 (2015): 164–82. http://dx.doi.org/10.1080/09540253.2015.1008421.

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Vincent, Richard C. "Clio's Consciousness Raised? Portrayal of Women in Rock Videos, Re-Examined." Journalism Quarterly 66, no. 1 (1989): 155–60. http://dx.doi.org/10.1177/107769908906600121.

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Clawson, Mary Ann. "Masculinity and skill acquisition in the adolescent rock band." Popular Music 18, no. 1 (1999): 99–114. http://dx.doi.org/10.1017/s0261143000008746.

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In the autumn of 1994, a Rolling Stone special issue on ‘Women in Rock’ proclaimed that ‘A change has come to rock & roll’. This pronouncement – which acknowledged women's traditional under-representation in rock music while consigning it to history – was hardly a new one. The ‘discovery’ that ‘an unprecedented number of female performers were now carving out a substantial place for themselves in the rock world’ has been a recurring staple of music journalism for at least two decades (Garr 1992, p. xi). Yet women's participation in the rock music world continues to be noteworthy, defined by their status as numerical minority and symbolic anomaly. ‘In rock as in life, what is male continues to be perceived as known, normal and natural, whereas what is female is taken to be a mystery in need of explication’ (Udovich 1994, p. 50).

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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.

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Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.

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Daniluk, Judith C., and Emily Koert. "Between a rock and a hard place: The reasons why women delay childbearing." International Journal of Healthcare 3, no. 1 (2017): 76. http://dx.doi.org/10.5430/ijh.v3n1p76.

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The increasing trend for women to delay childbearing is often met with harsh criticism and judgment, based on the assumption that women are prioritizing their careers over having children. An on-line survey of 500 currently childless Canadian women between the ages of 18 and 38 (M = 28) assessed participants’ childbearing intentions and beliefs, and the factors they felt were most important in the timing of childbearing. Although the respondents felt women should ideally have their first child in their late 20s, most expected that they would begin their families in their 30s. The ability to financially support a child was the most strongly endorsed factor in the timing of childbearing, followed by good health, being with a partner who would be an involved and loving parent, and having a proper home in which to raise a child. These findings highlight the values and beliefs that were most salient in participants’ decisions about the timing of childbearing.

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O’Brien, Margaret, Shawna Carbin, John J. Morrison, and Terry J. Smith. "Decreased myometrial p160 ROCK-1 expression in obese women at term pregnancy." Reproductive Biology and Endocrinology 11, no. 1 (2013): 79. http://dx.doi.org/10.1186/1477-7827-11-79.

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Hamelman, Steve. "Women Drummers: A History from Rock and Jazz to Blues and Country." Popular Music and Society 39, no. 1 (2015): 137–39. http://dx.doi.org/10.1080/03007766.2014.994304.

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Lezotte, Chris. "Born to Take the Highway: Women, the Automobile, and Rock ‘n’ Roll." Journal of American Culture 36, no. 3 (2013): 161–76. http://dx.doi.org/10.1111/jacc.12022.

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Fritzsche, Anna, and Jürgen Fritzsche. "Sportsanthropometric and performance parameters of elite rock ‘n’ roll dancers." Papers on Anthropology 27, no. 2 (2018): 49–56. http://dx.doi.org/10.12697/poa.2018.27.2.06.

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Rock ‘n’ roll dancing is one of the technical compositional sports. The current state of scientific knowledge on it can be described as minimal. To change this state, the first sports science survey regarding squad training was conducted under the guidance of the authors at the Austrian national rock ‘n’ roll team. The study group consisted of 26 A, B and C level athletes in the sport of rock ‘n’ roll acrobatics. The mean BMI of the male athletes with the mean age of 23.0 years was 23.3 kg/m2. The female subjects’ mean age was 19.5 years and their mean BMI 19.8 kg/m2. The bounce values of the men were as follows: squat jump (SQJ) 37.1 cm and counter- movement jump (CMJ) 41.9 cm. Men’s mean result in long jump was 256.0 cm. The women had a lower mean bounce of 25.8 cm and 27.2 cm in SQJ and CMJ respectively. Their mean length of the long jump was 204.6 cm. The anthropometric data showed that the male subjects’ mean body height was 1.81 m and weight 76.2 kg. The BIA measurement yielded a value of 15.8% body fat. The women’s mean height was 1.64 m and percentage of passive body substance 23.5%; their mean weight was 53.4 kg. The waist/hip ratio was 0.9 in both men and women. The Broca index was 1.2% in women and 6% in men. The AKS-index reached 1.02 in men and 0.91 in women. Data were collected to determine the one-repetition maximum (1RM) of the upper and lower extremities: lat pulldowns (m: 76.9 kg; w: 39.4 kg), rowing (m: 58.1 kg; w: 31.9 kg), bench press (m: 75.0 kg; w: 33.8 kg) and knee flexion (90°) (m: 82.1 kg; w: 44.7 kg). The result of the sit and reach test was 7.8 cm for male subjects and 16.2 cm for female athletes.

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Kähäri, Kim, Mats Eklöf, Leif Sandsjö, Gunilla Zachau, and Claes Möller. "Associations Between Hearing and Psychosocial Working Conditions in Rock/Jazz Musicians." Medical Problems of Performing Artists 18, no. 3 (2003): 98–105. http://dx.doi.org/10.21091/mppa.2003.3018.

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A study on the assessment of hearing and hearing disorders in rock/jazz musicians concluded that 74% of the musicians had some kind of disorder. The main hearing disorders found were pure-tone hearing loss, tinnitus (an acoustic sensation of sounds), hyperacusis (a hypersensitivity to low or moderate sound levels), and distortion (music sounds out of tune). Affected musicians often were able to give the exact time of the first appearance of the hearing disorders, which often was associated with a period of excessive sound exposure, high workload, or some form of emotional stress. The aim of this study was to explore associations between psychosocial work conditions, mental load, and hearing disorders in rock/jazz musicians. A total of 139 (43 women and 96 men) voluntarily participating rock/jazz musicians answered a questionnaire on psychosocial work conditions and mental load. The data were correlated to hearing and sex. The median age was 35 years in the women and 37 years in the men. Results showed that rock/jazz musicians do not generally experience themselves as stressed at work. The influence of working conditions is good, and the work consists mainly of attractive tasks. In men, hyperacusis was associated with higher psychological demands, greater difficulty in relaxing after work, higher stress during individual preparation, not getting enough sleep, and higher perceived sound level. In women, tinnitus was associated with greater difficulty in relaxing after work and less energy during musical performances. No strong correlation between psychosocial parameters and hearing loss was found. Positive and negative effects of stress on hearing are discussed.

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Friel, Anne M., Donal J. Sexton, Michael W. O’Reilly, Terry J. Smith, and John J. Morrison. "Rho A/Rho kinase: human umbilical artery mRNA expression in normal and pre eclamptic pregnancies and functional role in isoprostane-induced vasoconstriction." Reproduction 132, no. 1 (2006): 169–76. http://dx.doi.org/10.1530/rep.1.01088.

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Pre eclampsia represents a state of increased or prolonged vasoconstriction, partially linked to the potent vasocontractile effect of isoprostanes. The process of Rho A-mediated calcium sensitisation is inherent to a state of prolonged contractility in many smooth muscle types. The aim of this study was (1) to investigate mRNA expression levels of Rho A and Rho kinase isoforms (I and II) in the umbilical artery from normotensive and pre eclamptic women and (2) to determine whether the effects of two isoprostanes, 8-iso prostaglandin F2α (8-iso PGF2α) and 8-iso prostaglandin E2 (8-iso PGE2), on umbilical artery tone, were mediated via the Rho kinase pathway. Real-time RT-PCR using primers for Rho A, ROCK I and ROCK II was performed on total RNA isolated from umbilical artery specimens obtained from normotensive and pre eclamptic women. The effects of both isoprostanes (n = 6) (in the absence and presence of the specific Rho kinase inhibitor Y-27632), on umbilical artery tone were measured, and compared with control recordings. Rho A mRNA expression levels were significantly lower in umbilical artery samples obtained from pre eclamptic women (n = 4) in comparison to those from normotensive women (n = 6) (P < 0.05). ROCK I and ROCK II mRNA levels were similar in both vessel types (P > 0.05). Both isoprostanes exerted a significant concentration-dependent vasocontractile effect (n = 7) (P < 0.001) on umbilical artery. For 8-iso PGE2, this effect was antagonised by Y-27632 (n = 6) (P < 0.01). The significant reduction of Rho A mRNA levels in umbilical arteries from pregnancies complicated by pre eclampsia may serve to counteract the diminished perfusion associated with the pathophysiology of pre eclampsia. The vasocontractile effect of 8-iso PGE2 in pre eclampsia may in part be mediated via the Rho kinase pathway.

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Namono, Catherine. "Pongo symbolism in the geometric rock art of Uganda." Antiquity 85, no. 330 (2011): 1209–24. http://dx.doi.org/10.1017/s0003598x00062013.

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In this paper the author places the rock art of Uganda in context. It probably belongs to the Late Stone Age period to the Holocene and its symbolism may be interpreted in the light of later belief systems recorded amongst the historical Pygmy people. Pongo is the bark cloth used to make the distinctive loin cloths of men and aprons of women. Pongo are probably depicted in the rock art to evoke the fecundity of ndura, linking the real and supernatural within the Pygmy cosmos.

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Briskievicz, Danilo Arnaldo, and Amauri Carlos Ferreira. "HANNAH ARENDT E A QUESTÃO NEGRA NA DESSEGREGAÇÃO DA ESCOLA DE LITTLE ROCK, 1957." REVES - Revista Relações Sociais 2, no. 2 (2019): 0160–74. http://dx.doi.org/10.18540/revesvl2iss2pp0160-0174.

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RESUMO. O objetivo deste artigo é discutir o caso de dessegregação racial educacional acontecido na capital do Arkansas, Little Rock, nos Estados Unidos da América, em 4 de setembro de 1957. Para iluminar o contexto social e político das discussões sobre o polêmico caso, retomamos o controverso ensaio de Hannah Arendt publicado em 1959, intitulado Reflexões sobre Little Rock. Contamos, brevemente, a luta dos movimentos sociais norte-americanos ligados à questão negra até o caso Little Rock. Apresentamos variadas relações entre o caso Little Rock e algumas categorias do pensamento arendtiano como igualdade de direitos, mundo comum, responsabilidade, ação, discurso, visibilidade e crise do mundo moderno. Esclarecemos que o mundo comum é uma história comum tecida como resultado da ação e do discurso, em que os agentes se revelam pela palavra, pela voz e pelo gesto. Por fim, evidenciamos que duas mulheres foram escolhidas para narrar Little Rock: Elizabeth Eckford, a estudante de 15 anos que foi hostilizada publicamente e teve seu gesto imortalizado numa fotografia; e outra, Hannah Arendt. A imagem de Eckford foi republicada em diversos jornais, foi vista por Hannah Arendt que reconheceu Little Rock como um caso emblemático para a política e escreveu seu artigo. ABSTRACT. The purpose of this article is to discuss the case of educational racial desegregation that took place in Arkansas, Little Rock, United States of America, on September 4, 1957. To illuminate the social and political context of the controversial case, we resume the controversial essay by Hannah Arendt published in 1959, entitled Reflections on Little Rock. We briefly recount the struggle of the American social movements linked to the black issue until the Little Rock case. We present various relationships between the Little Rock affair and some categories of Arendtian thought as equal rights, common world, responsibility, action, discourse, visibility and crisis of the modern world. We clarify that the common world is a common history woven as a result of action and discourse, in which agents are revealed by word, voice and gesture. Finally, we note that two women were chosen to narrate Little Rock: Elizabeth Eckford, the 15-year-old student who was publicly harassed and had her gesture immortalized in a photograph; and another, Hannah Arendt. The Eckford’s image was republished in several newspapers, was seen by Hannah Arendt who recognized Little Rock as an emblematic case for politics and wrote her article.

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Howard, Brad, and Adam Cochran. "Between a Rock and a Hard Place: Depictions of Women in Climbing Magazines." International Journal of Sport and Society 1, no. 3 (2010): 173–84. http://dx.doi.org/10.18848/2152-7857/cgp/v01i03/54032.

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Sarma, Sumita. "Hands that Rock the Cradle Rule the Entrepreneurial World? Promotion of Women Entrepreneurship." Academy of Management Proceedings 2016, no. 1 (2016): 10749. http://dx.doi.org/10.5465/ambpp.2016.10749abstract.

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Barnes, Paula C. "The Junior League Eleven: Elite Women of Little Rock Struggle for Social Justice." Arkansas Historical Quarterly 57, no. 1 (1998): 46. http://dx.doi.org/10.2307/40027909.

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Alexander, Quentin R., and Nancy Bodenhorn. "My Rock: Black Women Attending Graduate School at a Southern Predominantly White University." Journal of College Counseling 18, no. 3 (2015): 259–74. http://dx.doi.org/10.1002/jocc.12019.

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Musonda, James. "Undermining gender: women mineworkers at the rock face in a Zambian underground mine." Anthropology Southern Africa 43, no. 1 (2020): 32–42. http://dx.doi.org/10.1080/23323256.2020.1736945.

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Mills. "Refuge in the Rock: Chthonic Rescue and Other Narrations of Women in Peril." Narrative Culture 8, no. 1 (2021): 82. http://dx.doi.org/10.13110/narrcult.8.1.0082.

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Bradby, Barbara. "Sampling sexuality: gender, technology and the body in dance music." Popular Music 12, no. 2 (1993): 155–76. http://dx.doi.org/10.1017/s0261143000005535.

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Bayton (1992) is right to be preoccupied by the mutual blindness between feminism and popular music. For if pop music has been the twentieth-century cultural genre most centrally concerned with questions of sexuality, one would expect more feminist critique and engagement with it. It is undoubtedly true that feminists have often been suspicious of pop music as typifying everything that needs changing for girls in society (McRobbie 1978), and of rock music as a masculine culture that excludes women (Frith and McRobbie 1979). Conversely, those who wished to celebrate the political oppositionality of rock music have often had to draw an embarrassed veil around its sexual politics, and have had good reason to be wary of feminism's destructive potential. Nevertheless, Bayton's own bibliography shows the considerable work that has been done by feminists on popular music, and the problem is perhaps better seen as one of marginalisation of this work within both feminist theory and popular music studies. In addition, I would argue that the work of Radway (1987), Light (1984), Modleski (1984) and others, in ‘reclaiming’ the popular genres of romance reading and soap opera for women, does have parallels in popular music in the work of Greig (1989) and Bradby (1990) on girl-groups, or McRobbie on girls and dancing (1984). Cohen (1992) shows some of the mechanisms through which men exclude women from participation in rock bands, while Bayton's own study of women musicians parallels other sociological work on how women reshape work roles (1990). And the renewed interest in audience research in cultural studies has allowed a re-valorisation of girls' and women's experience as fans of popular music (Garratt 1984; Lewis 1992), and as creators of meaning in the music they listen to (Fiske 1989; Bradby 1990).

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Dlamini, Phiwase, and Maria Juliá. "South African women and the role of social work: wathint' abafazi wathint' imbokodo (provoke women and you've struck a rock." International Social Work 36, no. 4 (1993): 341–55. http://dx.doi.org/10.1177/002087289303600406.

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Ponomareva, Irina Alexandrovna. "Exploring the Cave Rock Art of Siberian Trans-Baikal: Fertility, Shamanism, and Gender." Open Archaeology 7, no. 1 (2021): 155–76. http://dx.doi.org/10.1515/opar-2020-0135.

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Abstract The paper explores the phenomenon of rock art found in and around rock art cavities in Trans-Baikal region of South-East Siberia. Although many researchers noticed that caves have had a special value in cultures around the globe, no research has been carried out specifically into the cave rock art of Trans-Baikal which was not distinguished from other rock art found in open localities and shelters. This study was conducted based on field data collected by the author in 2017. In order to answer the question whether the cave sites had a specific role in the cultures of Bronze Age Trans-Baikal, the sets of motifs of the cave sites were compared to those of the closest open sites. Drawing on the stylistic difference revealed by the analysis and landscape context, it is suggested that the cave rock art sites could be places where rituals of more restricted nature took place. Ethnographic records may imply that these ceremonies were aimed at the fertility increasing being performed by shamans or shamannesses or without their assistance. It is also possible that the ceremonies could be gender-exclusive, conducted only for women, although this interpretation needs further research.

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Giuffre, Liz. "Not Just Boys and Rock ’n’ Roll: Rediscovering Women on Early Australian Music Television." Journal of World Popular Music 3, no. 1 (2016): 17–37. http://dx.doi.org/10.1558/jwpm.v3i1.31131.

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St. Lawrence, Janet S., and Doris J. Joyner. "The Effects of Sexually Violent Rock Music on Males' Acceptance of Violence Against Women." Psychology of Women Quarterly 15, no. 1 (1991): 49–63. http://dx.doi.org/10.1111/j.1471-6402.1991.tb00477.x.

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Gardner, Susan K. "Women Faculty Departures from a Striving Institution: Between a Rock and a Hard Place." Review of Higher Education 36, no. 3 (2013): 349–70. http://dx.doi.org/10.1353/rhe.2013.0025.

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Journal articles on the topic 'Women in rock'

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