Out Of The Margin

Out of the Margin is the first volume to consider feminist concerns across the entire domain of economics. The book addresses the philosophical roots of 'rational economic man', power relations and conflicts of interest within the family, the limitations of relying on secondary data and the policy implications of neo-classical models. With its range and depth of coverage this is not only an excellent introduction to the field but also indespensible for those seeking more in depth knowledge of issues of gender and economics.

Margin is the space that once existed between ourselves and our limits. Today we use margin just to get by. This book is for anyone who yearns for relief from the pressure of overload. Reevaluate your priorities, determine the value of rest and simplicity in your life, and see where your identity really comes from. The benefits can be good health, financial stability, fulfilling relationships, and availability for God’s purpose.

When Feminist Theory: From Margin to Center was first published in 1984, it was welcomed and praised by feminist thinkers who wanted a new vision. Even so, individual readers frequently found the theory "unsettling" or "provocative." Today, the blueprint for feminist movement presented in the book remains as provocative and relevant as ever. Written in hooks's characteristic direct style, Feminist Theory embodies the hope that feminists can find a common language to spread the word and create a mass, global feminist movement.

This book discusses the state of global climate change policy and the financing of climate resilient public infrastructure. It explains the sources of tensions and conflict between developing and developed countries with regard to global climate protection policies, and highlights the biases and asymmetries that may work against gender equality, women’s empowerment and poverty eradication. Gender and Climate Change Financing: Coming Out of the Margin provides an overview of the scientific, economic and political dynamics underlying global climate protection. It explores the controversial issues that have stalled global climate negotiations and offers a clear explanation of the link between adaptation and mitigation strategies and gender issue. It also maps the full range of public, private and market-based climate finance instruments and funds. This book will be a useful tool for those engaged with climate change, poverty eradication, gender equality and women’s empowerment.

How xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public. This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.

Maria Sibylla Merian, a German painter and naturalist, produced an innovative work on tropical insects based on lore she gathered from the Carib, Arawak, and African women of Suriname.