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1
Gendertelling in Organizations: Narratives from Male-Dominated Environments (Advances in Orgnaization Studies). Copenhagen Business School Press, 2007.
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Cavender, Gray y Nancy C. Jurik. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037191.003.0001.
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This introductory chapter begins with a background on the television series Prime Suspect, which chronicles the life and career of Jane Tennison (Helen Mirren), a detective chief inspector and later a detective superintendent for the London Metropolitan Police. Beyond its worldwide popularity, Prime Suspect is a pathbreaking series because it centers a strong woman lead in a gritty portrayal within what had been an otherwise overwhelmingly male-dominated police procedural subgenre. The series has shaped also the police procedural subgenre by setting higher standards for conveying a sense of social realism in the coverage of police work and, more specifically, what media analysts call “forensic realism.” The remainder of the chapter presents a brief history of the crime genre and women's place as well as a brief history of how television has portrayed women more generally. It concludes with an overview of the subsequent chapters is also presented.
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Karakowsky, Leonard E. The effects of token status and gender-orientation of the task on participation, influence and emergent leadership behaviour in male-dominated and female-dominated work-groups. 1997.
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Oksman, Tahneer y Seamus O'Malley, eds. The Comics of Julie Doucet and Gabrielle Bell. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.001.0001.
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Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York Diary. Coming into her own in the late 1990s, when she first started self-publishing her comics, Gabrielle Bell rose to prominence with her 2009 book of short story comics, Cecil and Jordan in New York, as well as her diary comics, which have been recurrently collected in full-length books. While each artist has a unique perspective, style, and world view, the essays in this book investigate these artists' shared investments informal innovation and experimentation and in playing with question soft he auto biographical, the fantastic, and the spaces in between. This volume brings to gether eight original essays, including an extensive introduction, in addition to five republished interviews with the artists. Utilizing a variety of methodologies (archival work, gender theory, genre theory, etc.), the engagements in this book reflect how, despite the importance of finding “a place in side yourself” in order to create, this space is always, for better or worse, also as hared space, culled from, and subject to, surrounding lives, experiences, and subjectivities. Both the world of comics and its critics have been male-dominated for too long. The essays in this volume allow us to think about women’s place in the comics canon, while also appreciating Doucet and Bell as unique artists with powerful personal visions.
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Grene, Nicholas y Chris Morash, eds. The Oxford Handbook of Modern Irish Theatre. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.001.0001.
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The familiar narrative in this field has focused on playwrights: from the foundational work of W. B. Yeats, Augusta Gregory, and J. M. Synge of the early twentieth-century national theatre movement to contemporary figures such as Martin McDonagh, Marina Carr, and Enda Walsh, sometimes including Oscar Wilde, Bernard Shaw, and Samuel Beckett. These playwrights are all given detailed analysis in this volume, while extending the conspectus to the full phenomenon of modern Irish theatre. Two sections of the book are devoted to performance, examining the neglected work of directors and designers, as well as exploring acting styles and playing spaces. While the Abbey, as Ireland’s national theatre, has been of central importance, individual chapters bring out the contesting voices of women in a male-dominated arena, the position of Irish-language theatre, and ‘little theatres’ that challenged the hegemony of the Abbey. The middle of the twentieth century saw what amounted to a new revival of Irish drama with the emergence of a generation of playwrights responding in innovative ways to a modernizing Ireland, again diversified by the establishment of regional companies and alternative dramaturgical directions from the 1970s. The contemporary period in Irish theatre has featured a movement beyond scripted plays to more experimental work. The impact and interactions of Irish theatre are finally placed within the wider world of the United Kingdom, Europe, and the United States. The forty-one chapters of the volume offer the most comprehensive analysis to date of modern Irish theatre.
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Bedford, Kate. Bingo Capitalism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198845225.001.0001.
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Bingo Capitalism uses bingo—a female-dominated and notoriously self-effacing game—to think differently about regulation and political economy. A key objective is to make bingo, as lens, more central to our debates about the regulation of economy and society. Part I sets the scene, responding to the query: why bingo? Part II explores the legal and political history of bingo. Part III analyses the regulation of people, while Part IV examines the regulation of products, places, and technologies. In so doing, the book uses bingo to better understand the role of the state in shaping the classed and gendered interrelation between diverse economies, especially in relation to non-commercial and commercial gambling. Bingo Capitalism offers the first sociolegal account of bingo as a globally significant and immensely popular pastime, centring implementation experiences alongside the broader political, economic, and social context to legislative reform. While considering the perspectives of lawmakers, who have debated what the game reflects about the nation and its economy, the book also centres the experiences of those who work in, and play, bingo, to trace how gambling law and regulation impact people in everyday life. The book identifies the central historical role of non-commercial, mutual aid play to UK gambling law and policy, and traces the ongoing relevance of this realm for current debates about the interrelation between capitalist and more-than-capitalist everyday economies. Bingo Capitalism also uses bingo as a case study of research into the gendered nature of regulation, showing how gender shapes, and is shaped by, diverse state rules on gambling.
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Poe, Edgar Allan. Selected Tales. Editado por David Van Leer. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535774.001.0001.
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Since their first publication in the 1830s and 1840s, Edgar Allan Poe's extraordinary Gothic tales have established themselves as classics of horror fiction and have also created many of the conventions which still dominate the genre of detective fiction. Yet, as well as being highly enjoyable, Poe's tales are works of very real intellectual exploration. Abandoning the criteria of characterization and plotting in favour of blurred boundaries between self and other, will and morality, identity and memory, Poe uses the Gothic to question the integrity of human existence. Indeed, Poe is less interested in solving puzzles or in moral retribution than in exposing the misconceptions that make things seem ‘mysterious’ in the first place. Attentive to the historical and political dimensions of these very American tales, this new critical edition selects twenty-four tales and places the most popular - ‘The Fall of the House of Usher’, ‘The Masque of the Red Death’, The Murders in the Rue Morgue; and ‘The Purloined Letter’ - alongside less well-known travel narratives, metaphysical essays and political satires.
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Chenoy, Shama Mitra, ed. Delhi in Transition, 1821 and Beyond. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477739.001.0001.
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Commissioned by the English East India Company to write about contemporary nineteenth-century Delhi, Mirza Sangin Beg walked around the city to capture its highly fascinating urban and suburban extravaganza. Laced with epigraphy and fascinating anecdotes, the city as ‘lived experience’ has an overwhelming presence in his work, Sair-ul Manazil. Sair-ul Manazil dominates the historiography of eighteenth- and nineteenth-century compositions on Delhi in Persian and Urdu, and remains unparalleled in its architecture and detailed content. It deals with the habitations of people, bazars, professions and professionals, places of worship and revelry, and issues of contestation. Over fifty typologies of structures and several institutions that find resonance in the Persian and Ottoman Empires can also be gleaned from Sair-ul Manazil. Interestingly, Beg made no attempt to ‘monumentalize’ buildings; instead, he explored them as spaces reflective of the sociocultural milieu of the times. Delhi in Transition is the first comprehensive English translation of Beg’s work, which was originally published in Persian. It is the only translation to compare the four known versions of Sair-ul Manazil, including the original manuscript located in Berlin, which is being consulted for the first time. It has an exhaustive introduction and extensive notes, along with the use of varied styles in the book to indicate the multiple sources of the text, contextualize Beg’s work for the reader and engage him with the debate concerning the different variants of this unique and eclectic work.
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Campos, Francisco, Markus Goldstein, Laura McGorman, Ana Maria Munoz Boudet y Obert Pimhidzai. Breaking the Metal Ceiling. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198829591.003.0008.
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Evidence from developed and developing countries indicates that there is significant gender segregation within the labour market, with women more likely to work in low-productivity sectors or less profitable businesses. This chapter looks at occupational segregation which significantly contributes to the earnings gender gap worldwide. The chapter studies the differences in outcomes for male and female enterprises and their sectors in sub-Saharan Africa, a region of high female labour market participation and entrepreneurship. Data on Uganda show that women breaking into male-dominated sectors make as much as men, and three times more than women staying in female-dominated sectors. Factors including entrepreneurial skill/abilities and credit/human capital constraints do not explain women’s sectoral choices. However, information about profitability of their small enterprises, male role models’ influence, and exposure to the sector from family and friends are critical in helping women circumvent or overcome norms undergirding occupational segregation.
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Trivellato, Francesca. The Promise and Peril of Credit. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691178592.001.0001.
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This book takes an incisive look at pivotal episodes in the West's centuries-long struggle to define the place of private finance in the social and political order. It does so through the lens of a persistent legend about Jews and money that reflected the anxieties surrounding the rise of impersonal credit markets. By the close of the Middle Ages, new and sophisticated credit instruments made it easier for European merchants to move funds across the globe. Bills of exchange were by far the most arcane of these financial innovations. Intangible and written in a cryptic language, they fueled world trade but also lured naive investors into risky businesses. This book recounts how the invention of these abstruse credit contracts was falsely attributed to Jews, and how this story gave voice to deep-seated fears about the unseen perils of the new paper economy. It locates the legend's earliest version in a seventeenth-century handbook on maritime law and traces its legacy all the way to the work of the founders of modern social theory—from Marx to Weber and Sombart. Deftly weaving together economic, legal, social, cultural, and intellectual history, the book describes how Christian writers drew on the story to define and redefine what constituted the proper boundaries of credit in a modern world increasingly dominated by finance.
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Hain, Kathryn A. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0017.
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KHAYZURAN’S MANIPULATION of three generations of Abbasid caliphs and courtiers make her probably the best known concubine of the Abbasid court, a place and time still famous as the backdrop for the stories of The Arabian Nights. As the mother of al-Hadi (r. 785–786) and Harun al-Rashid (r. 786–809), she provides us an early example of the social mobility and wealth that an enslaved woman could attain in Islamic society. Nabia Abbott, a pioneer scholar in English on early Muslim women, wrote a biography of Khayzuran. According to her work in the Arabic sources, slavers in Yemen kidnapped this lithe girl, named her Khayzuran (“Slender Reed”), and put her through musical training in Mecca to increase her value before selling her to the caliph on the Hajj. After Khayzuran secured power in the palace, she sent royal envoys to Yemen to search for her family. They found her father to be no more than a roughly dressed freedman working in the fields. This slave concubine who became queen mother influenced royal appointments and dominated the courtiers, her spouse, and her sons, enabling her to funnel incredible wealth to her own treasury. At the time of her death, it was recorded that her yearly income consumed half the land taxes of the empire. Her estate included a huge palace with over 1,000 slaves to serve her, gold, jewels, and 18,000 silk brocade dresses. Not bad for a skinny farm kid from Yemen....
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Nancy, Jean-Luc. Portrait. Traducido por Sarah Clift y Simon Sparks. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279944.001.0001.
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This book examines the practice of portraits as a way in to grasping the paradoxes of subjectivity. This book is written from the perspective that the portrait is suspended between likeness and strangeness, identity and distance, representation and presentation, exactitude and forcefulness. It can identify an individual, but it can also express the dynamics by means of which its subject advances and withdraws. The book consists of two extended essays written a decade apart but in close conversation, in which the author considers the range of aspirations articulated by the portrait. Heavily illustrated, it includes a newly written preface bringing the two essays together and a substantial Introduction, which places the author's work within the range of thinking of aesthetics and the subject, from religion, to aesthetics, to psychoanalysis. Though undergirded by a powerful grasp of the philosophical and psychoanalytic tradition that has rendered our sense of the subject so problematic, this book is at heart an unpretentious reading of three dozen portraits, from ancient drinking mugs to recent experimental or parodic pieces in which the artistic representation of a sitter is made from their blood, germ cultures, or DNA. The contemporary world of ubiquitous photos, the book argues, in no way makes the portrait a thing of the past. On the contrary, the forms of appearing that mark the portrait continue to challenge how we see the bodies and representations that dominate our world.
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Nash, Philip. Breaking Protocol. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178394.001.0001.
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Breaking Protocol tells the story of the first female ambassadors in US history (1933–1964): Ruth Bryan Owen, Florence Jaffray Harriman, Perle S. Mesta, Eugenie M. Anderson, Clare Boothe Luce, and Frances E. Willis. This is the first group biography of the Big Six, one that places these women in a wider historical context based on deep and broad research in archival sources. It restores these women to their rightful place in history, and it assists the larger project of rendering women in international history visible. It begins by establishing the historical context, the male-dominated world of American diplomacy in the first half of the twentieth century. It then devotes one chapter each to the six female ambassadors, describing their backgrounds and appointments, analyzing the issues they faced and experiences they had on the job, and assessing their performances. It also traces the ambassadors’ reception by host countries; their sometimes fraught relations with the male-dominated State Department; the press coverage they received; the complications of protocol and the spouse issue; and how they practiced “people’s diplomacy”—getting to know, and representing America to, the host country’s whole society, not just its ruling elite. It ends by outlining the progress made and obstacles faced by women since the mid-1960s, and it concludes that, through their successful performances, the Big Six significantly contributed to gender progress in US foreign relations.
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Cavender, Gray y Nancy C. Jurik. Investigating and Challenging. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037191.003.0004.
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This chapter considers both the strategies of detection that enable Jane Tennison to solve cases and the television production techniques employed in the series that establish Tennison as a credible and successful female protagonist in a previously male-dominated subgenre. Thus, it examines methods whereby the male dominance of the police procedural is decentered in Prime Suspect. The chapter shows that Tennison challenged organizational and interpersonal barriers to successfully perform her job. In doing her job, she demonstrated a relentless work ethic, attention to the details of the case, aggressiveness, trickery, and at times what might seem to be special “feminine” insights. It further argues that Tennison's sense of justice for victims motivated her investigations.
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Sihra, Melissa. Shadow and Substance. Editado por Nicholas Grene y Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.35.
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In spite of the very important role of women in the development of Irish theatre through the twentieth century, their contribution has continued to be marginalized, with ‘women’s drama’ set off against an implicit male norm. This was still obvious in the Abbey Theatre’s centenary programme, in which no play by a woman featured on the theatre’s main stage. The work of Charabanc Theatre Company, a women’s collective, and the highly successful plays of Marie Jones emerging from that company can be contrasted with the male-dominated Field Day in terms of a disparity of critical attention. Marina Carr, the Irish woman playwright best known internationally, in spite of the strong gender concerns of her plays, has been reluctant to identify herself as ‘feminist’ because of its associations. It has only been in the twenty-first century that the work of women playwrights and directors has been accepted as part of mainstream theatre .