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Articles 1 - 9 of 9
Full-Text Articles in Arts and Humanities
Doris Salcedo's Melancholy Objects, Vera C. Mackie
Doris Salcedo's Melancholy Objects, Vera C. Mackie
Vera Mackie
Doris Salcedo’s work ‘Atrabiliarios’ (Defiant) (1992-2004) refers to the women who have been disappeared in her homeland of Colombia.1 Over forty boxes are recessed in the walls of the gallery. Each box contains one or two shoes, sometimes a single shoe, sometimes a pair, sometimes a mismatched pair. Each recessed box is covered with a membrane, described as a layer of cow bladder, bordered with black stitches of surgical thread. The backlit cow bladder evokes human skin. The black, white, brown and ivory shoes are visible through the skin-like surface. On the floor of the gallery are stacked a series …
Feminism And The Nation-State In Japan, Vera C. Mackie
Feminism And The Nation-State In Japan, Vera C. Mackie
Vera Mackie
The first Japanese edition of the book appeared at the height of debates about the interpretation of the Asia-Pacific War, debates which were also linked to conflicts about how the past should be represented in school textbooks.2 Much of this controversy revolved around the issue of enforced military prostitution/military sexual slavery.3 In 1991 Kim Hak-Sun (1924–1997) was one of the few women to come out in public in her own name to narrate her experiences in the enforced military prostitution system and demand an apology and compensation from the Japanese government. She was soon joined by survivors from Korea and …
Necktie Nightmare: Narrating Gender In Contemporary Japan, Vera C. Mackie
Necktie Nightmare: Narrating Gender In Contemporary Japan, Vera C. Mackie
Vera Mackie
...the thing I hated most of all was the necktie.When I wore a necktie, there was just no doubt that I was a man.The image was of a salaryman! The mainstay of the house! The symbol of manhood! These are the words of Nomachi Mineko in the autobiographical account of her transition from male to female. The book (adapted from a blog) appeared in late 2006 under the title O-kama dakedo OL yattemasu (I'm Queer But I'm An Office Lady). The book's publication coincided with a range of mainstream representations of trans-gendered lives - in television dramas, documentaries, memoirs and …
How To Be A Girl: Mainstream Media Portrayals Of Transgendered Lives In Japan, Vera C. Mackie
How To Be A Girl: Mainstream Media Portrayals Of Transgendered Lives In Japan, Vera C. Mackie
Vera Mackie
Just before the turn of the twenty-first century changes to Japanese laws concerning the modification of reproductive capacity resulted in the removal of some legal barriers to the surgical modification of sexed bodies. These operations are variously known as "sex change", " sex adjustment", or "sex reassignment" , operations. Medical facilities that perform such surgery usually do so ony after the client has spent a substantial period of time living as a member of the gender they wish to acquire. Now there is a significant number of individuals in Japan who have undergone such surgery or are planning to do …
The Gender Fault-Line, Ayako Kano, Vera C. Mackie
The Gender Fault-Line, Ayako Kano, Vera C. Mackie
Vera Mackie
The economic, demographic and environmental shocks of recent years that have so profoundly shaped contemporary Japanese society have distinctive gendered dimensions. The economic reality has shifted, but social expectations about the roles of men and women have been slower to change. Meanwhile, the demographic crisis is placing considerable burden on families and revealing the attendant risk of the ‘care deficit’ — in the home and in the face of disaster.
Sweat, Perfume And Tobacco: The Ambivalent Labor Of The Dancehall Girl, Vera C. Mackie
Sweat, Perfume And Tobacco: The Ambivalent Labor Of The Dancehall Girl, Vera C. Mackie
Vera Mackie
In his 1931 novella Dancers and Drawers (Dansii to zurosu), Tada Michio describes an enchanting figure, a dancehall girl on the streets of Tokyo: "With a cheeky bob and slim legs. With stockings of a color that matches her skin so well she looks like she's not wearing any. Her shoes are patent leather with high heels. Her gaudy salmon pink dress flutters in the wind as she steps along the pavement" (Tada 1931: 1).
Instructing, Constructing, Deconstructing: The Embodied And Disembodied Performances Of Yoko Ono, Vera Mackie
Instructing, Constructing, Deconstructing: The Embodied And Disembodied Performances Of Yoko Ono, Vera Mackie
Vera Mackie
Modernism has been described as 'either a time-bound or a genre-bound art form'. In generic terms, modernist art has been described as 'experimental,formally complex, elliptical, contain[ing] elements of decreation as well as creation, and tend[ing] to associate notions of the artist's freedom from realism, materialism, traditional genre and form.... . Modernist art forms have further been described as those which are '.... aesthetically radical, contain striking technical innovation, emphasize spatial or "fugal" as opposed to chronological form, ten towards ironic modes, and involve a certain "dehumanization" of art'. Modernist art deploys the techniques of montage, collage, mixed-media assemblages, genre-crossing, generic …
Shanghai Dancers: Gender, Coloniality And The Modern Girl, Vera C. Mackie
Shanghai Dancers: Gender, Coloniality And The Modern Girl, Vera C. Mackie
Vera Mackie
In 1924, the artist Yamamura K6ka (1885-1942) produced a colour woodcut depicting the dance hall of the New Carlton Hotel in Shanghai. In this print, two women are seated at a round table. One has bobbed hair; the other wears a red hat. Both wear western dress, but the embroidered jacket draped on one of the chairs suggests the fashion for Chinoiserie. Two cocktail glasses on the table contain red cherries. Several couples dance in the background of the picture, the women all with similar bobbed hair. The male dancing partners are barely visible and the women are seen from …
The 'Afghan Girls': Media Representations And Frames Of War, Vera Mackie
The 'Afghan Girls': Media Representations And Frames Of War, Vera Mackie
Vera Mackie
In this article, I survey almost a decade of visual representations of Afghan women, which have emanated from first world media organizations and have circulated in transnational media space. Only one of the photographs is explicitly linked with a political discussion. However, all of the photographs contribute to a set of possible statements about veiling and unveiling. Through discourse analysis informed by a genealogical approach, I demonstrate how these photographs contribute to the constitution of a set of power relations whereby the United States and its Allies have sovereignty and where it seems 'natural' that these sovereign nations can intervene …