Gendered Re Visions

"Explores gender stereotypes and the transgression of these gender stereotypes in recent films, television series and music videos. Films that are cited include Pride and Prejudice, Bridget Jones' Diary, Bride and Prejudice, Magnolia, American Beauty, Fight Club, High Noon, Brokeback Mountain and the Shrek movies. Sex and the City and Desperate Housewives, and the music videos of 50 Cent and the G Unit are also explored."--Source inconnue.

Offering a comprehensive overview of feminist contributions to the study of international relations, this title includes chapters on gender and development and womens' human rights, plus an exploration of possible research trajectories and theoretical lines of enquiry.

While IR theorists are increasingly critical of neorealist assumptions about the state and the international system, few have explored the gendered construction of the state and its implications for IR. Recognizing this, the authors of this collection explore how core concepts of political and IR theory - the state, sovereignty, power - are reframed through feminist lenses.

What does it mean to re-vision Torah? "I use the title ReVisions for this book because I want readers both to revise―in the classic definition of reexamine and alter―and to see the text anew, to have a new vision, a 'revision,' of Torah.... It begins with the notion that women see the text differently than men do, ask different questions and bring different answers.... This book is not about rewriting the Torah. It is about rereading it." ―from the Introduction Rabbi Elyse Goldstein―woman, rabbi, scholar, and feminist―challenges and defends, rereads and reinterprets the ancient text, revealing to modern readers a way to see Judaism anew, for a new vision―a "revision"―of the Torah. Goldstein boldly brings the Torah into a contemporary context at the same time she honestly reconciles its past.

von der Rolle Wer sich mit Gender befasst, begibt sich auf eine Reise durch alle Bereiche der gesellscha- lichen Verhältnisse, lernt die Mechanismen von Gruppenzwängen, Ein- und Ausgrenzungen in verschiedenster Gestalt kennen und entdeckt letztlich sich selbst zu einem nicht geringen Teil als Produkt dieser starken, allgemein wirksamen Kräfte. Gender, das ist die Rolle, der wir z- geschrieben sind, die uns auf den Leib geschrieben ist, in die wir hineingewachsen sind. Sehr oft aber ist es eine Rolle, die uns widerstrebt, mit der wir uns nicht identifizieren können, g- schweige denn wollen. Der Begriff beschreibt ein Muster, von dem wir abhängen – oft aus traditionsbedingter Anhänglichkeit, weil es eben „immer schon so war“ –, das uns ins Leben bindet oder aber wie ein Strick um den Hals in existentielle Krisen führt. Gender bezeichnet soziale Geschlechterrollen. Es geht weniger um rein körperliche Geschlechtsmerkmale als vielmehr um typische, von der Kultur vorgegebene Eigenschaften und Verhaltensweisen, die ein in ihr lebendes Geschlecht zu erfüllen hat. Wien hat schon in der Frühphase des Feminismus wichtige Positionen hervorgebracht und mit Helene von Druskowitz (1856–1918), der ersten promovierten Philosophin Österreichs und der zweiten überhaupt, eine seiner streitbarsten Vertreterinnen aufzuweisen. Der Begriff Gender wurde vor über 50 Jahren, Mitte der 1950er Jahre, eingeführt. In diese Zeit fällt auch die Gründung der Sammlung für zeitgenössische Kunst der Kulturabteilung der Stadt Wien, aus der die Ausstellungsobjekte des vorliegenden Kataloges stammen.

This book offers reflections of the representations of the Indian diaspora of Malaysia according to two spectrums, colonial and postcolonial. It takes seed from the belief that any engagement with the Indian diasporic experience in Malaysia must take into account the role of the pioneer Indian immigrants who carved the niche of existence for the overseas Indian on Malayan soil. It begins by tracing their presence within the terrain of colonial narratives to uncover, not only the ways in which they were subordinated to colonial ideological discourses but also, and more significantly, the suppressed story of coolie resistance that lies under the weight of such masks of conquest. It then moves on to show how postcolonial revisioning is able to reconstruct the Indian immigrants of Malaya as choreographers of the diasporic identity that they have left as the most significant legacy for contemporary Malaysian Indians. This book ultimately reveals the politics of Malaysian Indian identity from colonised to globalised grounds, and the ways in which the subaltern spaces of the former can be reclaimed and reterritorialised in the latter.

Gothic fiction usually has been perceived as the special province of women, an attraction often attributed to a thematics of woman-identified issues such as female sexuality, marriage, and childbirth. But why these issues? What is specifically "female" about "Gothic?" This book argues that Gothic modes provide women who write with special means to negotiate their way through their double status as women and as writers, and to subvert the power relationships that hinder women writers. Current theories of "gendered" observation complicate the idea that Gothic-marked fiction relies on composed, individual scenes and visual metaphors for its effect. The texts studied here--by Ann Radcliffe, Mary Shelley, Charlotte Brontë, Harriet Beecher Stowe, George Eliot, and Edith Wharton--explode the authority of a unitary, centralized narrative gaze and establish instead a diffuse, multi-angled textual position for "woman." Gothic moments in these novels create a textualized space for the voice of a "woman writer," as well as inviting the response of a "woman reader."

In so doing it puts forward a distinctive thesis, namely that within late modernity gender and sexuality are being reworked in terms of categories of reflexivity and risk. It shows that this reworking places increasing significance on issues of mobility and identity in late modernity. It therefore outlines the politics of mobility in regard to identity, suggesting that mobility is an important but often neglected source of power in late modernity. Revisions: gender and sexuality in late modernity will be essential reading for advanced undergraduates, research students and academics working in the fields of feminist theory, social theory, sociology, women's studies and cultural studies."--Jacket.