Elisa Facio And Irene Lara. Fleshing The Spirit: Activism In Chicana, Latina, And Indigenous Women’S Lives,
2019
Jesuit School of Theology of Santa Clara University
Elisa Facio And Irene Lara. Fleshing The Spirit: Activism In Chicana, Latina, And Indigenous Women’S Lives, Gerardo Omar Marin
Journal of Hispanic / Latino Theology
No abstract provided.
Female Leadership In Gaming: Where Are They & Where Are They Missing?,
2019
University of Nevada, Las Vegas
Female Leadership In Gaming: Where Are They & Where Are They Missing?, Toni Repetti, Shekinah Hoffman
International Conference on Gambling & Risk Taking
Women account for over half the gaming workforce, but there is still a gap in leadership. Men continue to dominate casino executive and board positions and this is not representative of the front-line workforce. This presentation uses a database of 10, 950 management positions in 972 United States casinos to evaluate the facts, not perceptions. The database consists of 567 commercial and 405 Native American casinos, which are evaluated separately and in combination. Results show women hold 35.5% of manager and above positions when evaluated overall, but there is a significant difference when evaluated by type of operations. Commercial casinos …
Imaging Exploitation, Complexity, And Paradox In Subaltern Labor Photography,
2019
CUNY Hunter College
Imaging Exploitation, Complexity, And Paradox In Subaltern Labor Photography, Mahnure Janis
Theses and Dissertations
Imaging Exploitation, Complexity, and Paradox in Subaltern Labor Photography is an expanded cinema performance examining 'cheap' labor in the fast fashion industry through a self-reflexive diasporic lens. The images and narration explores the garment factories in Bangladesh and contains ‘a photographer’s cognitive meta-data’, including ethical dilemmas while taking the images.
"Not Tea And Crumpets": The 1976 Louisiana Governor's Conference On Women And The Formation Of A New Women's Platform, 1972-1982,
2019
University of New Orleans
"Not Tea And Crumpets": The 1976 Louisiana Governor's Conference On Women And The Formation Of A New Women's Platform, 1972-1982, Vickie A. Lacoste
LSU New Orleans Theses and Dissertations
The success of three Louisiana feminists in the 1970s, Fran Bussie, Clarence Marie Collier, and Pat Evans stemmed from their professional expertise in labor rights, education, and politics, respectively. By joining and maintaining memberships in a variety of social, civic, and activists groups, these feminist leaders via the 1976 Louisiana Governor’s Conference on Women created a unique network that allowed for the formation of a new women’s platform. This conference advanced women’s rights, established a working platform for reform, and helped usher in second-wave feminism in Louisiana. Using conference booklets, archived video and audio interviews, and newspaper articles, this thesis …
It's Me, Sarah,
2019
LSU New Orleans
It's Me, Sarah, Fabiola Y. Andrade Chinchilla
LSU New Orleans Theses and Dissertations
This paper describes the making of It’s Me, Sarah, a University of New Orleans thesis film. It explores the process of creating the film in three parts. Part one will examine the pre-production, including the writing and preparation for the shoot. Part two will detail the production, including the shooting affairs. Part three will cover the post-production process, which will include the editing. The document will then reference these three segments regarding the film’s theme and will conclude by evaluating whether the final film achieves its intended conception.
Volunteer Women: Militarized Femininity In The 1916 Easter Rising,
2019
Chapman University
Volunteer Women: Militarized Femininity In The 1916 Easter Rising, Sasha Conaway
War, Diplomacy, and Society (MA) Theses
Women were an integral part to the Easter Rising, yet until recently, their contributions have been forgotten. Those who have been remembered are often women who bucked conservative Irish society’s notions of femininity and chose to actively participate in combat, which has led to a skewed narrative that favors their contributions over the contributions of other women. Historians and scholars favor these narratives because they are empowering and act as clear foils to the heroic narratives of the male leaders in the Easter Rising. In reality, however, most of the women who joined Cumann na mBan or worked for the …
The Fine Line Of Determination: Supporting The Agency Of Filipina Sex Trafficking Survivors,
2019
The University of San Francisco
The Fine Line Of Determination: Supporting The Agency Of Filipina Sex Trafficking Survivors, Jessica Taylor
Master's Projects and Capstones
This paper examines the economic, geographic and cultural factors that perpetuate sex trafficking in the Philippines along with the impact of the dominant victim narrative on affected Philippine women. Along with analyzing this complex problem, the research evaluates and critiques current trends of policy support and law in the Philippines, and their level of efficacy in resolving the issue of sex trafficking and promoting agency and survivorship for the women involved. Current solutions and support from both legal and non-governmental organizations’ (NGO)are, to a large extent, rendered ineffective due to a simplified narrative of loss and victimization that is perpetuated …
The Contradictory Faces Of “Sisterhood”: A Case-Study On Charlotte Brontë’S Jane Eyre And Its Theatrical Adaptation By James Willing And Leonard Rae, Gloria Naylor’S The Women Of Brewster Place, And Liane Moriarty’S Big Little Lies And Its Miniseries Adaptation On Hbo, Lama Alsulaiman
English (MA) Theses
Feminist “Sisterhood” has been a debatable term throughout multiple generations and its ideology is mostly rejected by feminists in the younger generation. The concept mainly denotes a sense of collectivity and it is viewed as a gendered term due to its coinage by second wave feminists as a response to patriarchy. Hence, “Sisterhood” authorizes a collective identity that portrays women as victims and thereby the ideology that is associated with this term reduces the complexity and fluidity of female identity. Various representations of female bonds, in the political, literary and filmic spheres, have valued the idea of collectivity among females, …
Indigenous Women's Bodies: Primer Territorio De Defensa,
2019
University of San Francisco
Indigenous Women's Bodies: Primer Territorio De Defensa, Ana Gabriela Avalos Tizol
Master's Theses
The teen pregnancy “epidemic” in Guatemala is a focal point when international and national NGOs demand that the government protect the civil and political rights of girls. In accordance, the state created laws (legal age for marriage - Ordinance 13-2017), implemented penal codes (statutory rape - Article 173) and created Programa Vida (conditional cash transfer of Q. 1,500 - $200 every two months) to address this ‘epidemic.’ Yet, only sixty-one teen mothers were involved in the program by the first year in 2018, indicating its inaccessibility. This thesis proposes to challenge the dominant narrative on teenage pregnancies, which blames “Mayan …
Does Money Indeed Buy Happiness? “The Forms Of Capital” In Fitzgerald’S Gatsby And Watts’ No One Is Coming To Save Us,
2019
Chapman University
Does Money Indeed Buy Happiness? “The Forms Of Capital” In Fitzgerald’S Gatsby And Watts’ No One Is Coming To Save Us, Allie Harrison Vernon
English (MA) Theses
Looking primarily at two critically acclaimed texts that concern themselves with American citizenship—F. Scott Fitzgerald’s The Great Gatsby and Stephanie Powell Watts’ No One is Coming to Save Us—I analyze the claims made about citizenship identities, rights, and consequential access to said rights. I ask, how do these narratives about citizenship sustain, create, or re-envision American myth? Similarly, how do the narratives interact with the dominant culture at large? Do any of these texts achieve oppositional value, and/or modify the complex hegemonic structure? I use Pierre Bourdieu’s “The Forms of Capital” to investigate the ways in which economic, cultural, …
Panmela Castro: Feminism In Brazilian Graffiti Art,
2019
City University of New York (CUNY)
Panmela Castro: Feminism In Brazilian Graffiti Art, Giulia Chu Ferri
Student Theses and Dissertations
This paper is an analysis on the graffiti artist Panmela Castro and her murals in Brazil and around the world. My thesis emphasizes the importance of feminist subject matter for graffiti art in Brazil, as well as its impact on the public sphere. The paper is separated into four sections: “Formative Years,” describing her biography and the development of her works; “Interaction with the City,” analyzing the interaction between graffiti and the urban environment, and using that discussion as a frame to contextualize Castro’s work; “Feminist Imagery and Ideology,” examining some of her concurrent themes and imageries; and finally “Transnational …
Women Artists Shows·Salons·Societies: Towards A Global History Of All-Women Exhibitions,
2019
Purdue University
Women Artists Shows·Salons·Societies: Towards A Global History Of All-Women Exhibitions, Catherine Dossin, Hanna Alkema
Artl@s Bulletin
The Women Artists Shows·Salons·Societies project was launched in 2017 as a collaboration between Artl@s and AWARE. Combining AWARE’s ambitions to restore the presence of 20th-century women artists in the history of art, and Artl@s’s desire to provide scholars with the data and tools necessary to question the canonical art historical narratives through quantitative and cartographic analyses, we decided to work on group exhibitions of women artists.
Our first ambition is to build a community of scholars and work together to develop a common terminology and even possibly a common and consistent methodology to study these events, because the ones used …
Se Rendre Visible Dans L’Espagne De Franco: Le Salón Femenino De Arte Actual (1962-1971),
2019
Universitat de Girona
Se Rendre Visible Dans L’Espagne De Franco: Le Salón Femenino De Arte Actual (1962-1971), Maria Lluïsa Faxedas, Isabel Fontbona, Patricia Mayayo
Artl@s Bulletin
The paper examines the history and the critical reception of the Salón femenino del arte actual, an annual all-female exhibition organized by a group of women artists in Barcelona between 1962 and 1971. Unique at the time, the Salón challenged the traditional role attributed to women under Franco's dictatorship, managing at the same time to obtain support from local authorities. The paper argues that it was the ability of the organisers to take advantage of political ambivalence, to find a delicate balance between complicity and resistance, which allowed the exhibition to survive for a decade.
Women Artists' Salon Of Chicago (1937-1953): Cultivating Careers And Art Collectors,
2019
DePaul University
Women Artists' Salon Of Chicago (1937-1953): Cultivating Careers And Art Collectors, Joanna P. Gardner-Huggett
Artl@s Bulletin
This article reconstructs the history of the Women Artists’ Salon of Chicago, which was founded as an exhibition society in Chicago in 1937, and argues that the Board of Directors turned to the 19th century precedents of the Palette Club and the Woman’s Building at the World’s Columbian Exhibition as models for their organization. The essay also traces how members of the Women Artists’ Salon deliberately exhibited traditional artworks associated with the feminine and domestic and coordinated social events in order to cultivate greater sales and a new generation of female art collectors.
Women's Art Club And Women’S Group Exhibitions In Zagreb From 1928 Until 1940,
2019
Fine Arts Archives of the Croatian Academy of Sciences and Arts, Zagreb
Women's Art Club And Women’S Group Exhibitions In Zagreb From 1928 Until 1940, Darija Alujević, Dunja Nekić
Artl@s Bulletin
In 1927 painters Nasta Rojc and Lina Crnčić Virant, inspired by their British colleagues founded the Women's Art Club in Zagreb. From 1928 until 1940 the Club organized group exhibitions of its members. The main idea of the Club was to improve arts and crafts, to organize female exhibitions and to collaborate with other international women associations. The Club took part in the organisation of the exhibition of Bulgarian women artists and the exhibition of the Little Entente of Women held in 1938 in Zagreb. Women`s Art Club was an important factor of the female artists' emancipation – organizing the …
The Exhibitions Of The Femmes Artistes Modernes (Fam), Paris, 1931-38,
2019
[email protected]
The Exhibitions Of The Femmes Artistes Modernes (Fam), Paris, 1931-38, Paula J. Birnbaum
Artl@s Bulletin
The Société des Femmes Artistes Modernes (FAM) opened up a productive space for women artists who were active in Paris during the 1930s through annual multigenerational exhibitions and international collaborations. I argue that FAM embodied a paradox: on the one hand, it supported artists wishing to question stereotypes of gender, race, class, and nation; on the other, its institutional structure and leadership did not challenge patriarchal assumptions about women’s subordinate role in society. The paper explores this tension by comparing the work and critical reception of several artists in the group who represented the theme of motherhood.
An Exhibition Of One’S Own: The Salón Femenino De Bellas Artes (Buenos Aires, 1930s-1940s),
2019
Consejo Nacional de Investigaciones Científicas y Técnicas
An Exhibition Of One’S Own: The Salón Femenino De Bellas Artes (Buenos Aires, 1930s-1940s), Georgina G. Gluzman
Artl@s Bulletin
From the late 1920s on, Buenos Aires witnessed the emergence of exhibition spaces of a separatist character for women artists. In spite of their importance, these regular shows have not received any attention from art history literature. Their vast development, the extensive coverage by the press, and their links to feminist institutions have gone completely unnoticed. Focusing on the Salón Femenino organized by the Club Argentino de Mujeres, the purpose of this article is to reconstruct the organization of these events, to examine their reception by art critics, and to analyze the careers of some of the participating women …
"Women Artists To Victims Of War" - The First Exhibition Of The Moscow Union Of Women Painters And Its Reception By The Contemporary Press., Natalia Y. Budanova
Artl@s Bulletin
A few surviving visual and documentary sources related to the exhibition Women Artists to Victims of the War organised by the Moscow Union of Women Painters in winter 1914 represent a useful primary material for piecing together fragments of the history of this short-lived female art group. The Union exemplified impressive gender changes in educational and professional spheres of Russian art. Yet, it failed to attract strong membership and disintegrated within few years after its institution. By analysing available evidence this essay seeks to uncover and assess the causes of the Union’s defeat in establishing a prominent public profile.
Le Cercle Des Femmes Peintres De Bruxelles : Un Collectif, Quatre Expositions (1888-1893),
2019
Université libre de Bruxelles
Le Cercle Des Femmes Peintres De Bruxelles : Un Collectif, Quatre Expositions (1888-1893), Denis Laoureux
Artl@s Bulletin
Entre 1888 et 1893, le Cercle des femmes peintres de Bruxelles organise quatre expositions rassemblant 400 tableaux peints par près de 80 femmes. Celles-ci sont décrites par la presse d’époque comme des dilettantes. L’analyse montre pourtant qu’elles présentent un niveau de professionnalisation contraire à l’oubli qu’elles connaissent aujourd’hui. Plusieurs paramètres permettent d’en prendre la mesure. Le réseau relationnel, le niveau de visibilité dans les Salons d’État, les indicateurs de légitimité (prix, titres…) et les valeurs chiffrées des œuvres font ressortir un corpus d’une trentaine d’artistes qu’il conviendrait de réintégrer au canon de l’histoire de l’art de la Belgique fin de …
L'Esposizione Internazionale Femminile Di Belle Arti (Torino, 1910-1911; 1913). Note Su Genere, Arte E Professione In Italia All'inizio Del Xx Secolo,
2019
Fondazione Ernesta Besso
L'Esposizione Internazionale Femminile Di Belle Arti (Torino, 1910-1911; 1913). Note Su Genere, Arte E Professione In Italia All'inizio Del Xx Secolo, Francesca Lombardi
Artl@s Bulletin
Il contributo intende ricostruire la vicenda delle Esposizioni Internazionali Femminili di Belle Arti (1910-11; 1913), prima manifestazione artistica di taglio internazionale riservata esclusivamente alle donne organizzata in Italia. Promosse a Torino dalla rivista La Donna, le due rassegne si svolsero in un momento storicamente determinante per l'affermazione di un nuovo status delle artiste, contribuendo a dare visibilità e legittimità al fenomeno della produzione artistica femminile. La ricerca ripercorre, sulla scorta soprattutto di documenti d'epoca e fonti d'archivio, la storia e gli esiti di questa innovativa esperienza, evidenziando la complessità delle reti istituzionali, sociali, di patronage e matronage che concorsero …
