In Confidence Culture, Shani Orgad and Rosalind Gill argue that imperatives directed at women to "love your body" and "believe in yourself" imply that psychological blocks rather than entrenched social injustices hold women back. Interrogating the prominence of confidence in contemporary discourse about body image, workplace, relationships, motherhood, and international development, Orgad and Gill draw on Foucault's notion of technologies of self to demonstrate how "confidence culture" demands of women near-constant introspection and vigilance in the service of self-improvement. They argue that while confidence messaging may feel good, it does not address structural and systemic oppression. Rather, confidence culture suggests that women-along with people of color, the disabled, and other marginalized groups-are responsible for their own conditions. Rejecting confidence culture's remaking of feminism along individualistic and neoliberal lines, Orgad and Gill explore alternative articulations of feminism that go beyond the confidence imperative.

In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this 'turn to cultural work' has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work-life boundaries leading to 'self-exploitation'. While academic critics have persuasively challenged more optimistic accounts of 'converged' worlds of creative production, the critical debate on cultural work has itself leant heavily towards suggesting a profoundly new confluence of forces and effects. Theorizing Cultural Work instead views cultural work through a specifically historicized and temporal lens, to ask: what novelty can we actually attach to current conditions, and precisely what relation does cultural work have to social precedent? The contributors to this volume also explore current transformations and future(s) of work within the cultural and creative industries as they move into an uncertain future. This book challenges more affirmative and proselytising industry and academic perspectives, and the pervasive cult of novelty that surrounds them, to locate cultural work as an historically and geographically situated process. It will be of interest to students and scholars of sociology, cultural studies, human geography, urban studies and industrial relations, as well as management and business studies, cultural and economic policy and development, government and planning.

Social media is replete with images of 'perfection'. But many are unrealistic, and contribute to a pervasive sense of never being good enough: not thin enough; not pretty enough; not cool enough. Try too hard and you risk being condemned for seeming desperate, don't try hard enough and you're slacking. Rosalind Gill challenges polarised perspectives that see young women as either passive victims of social media or as savvy digital natives. She argues the real picture is far more ambivalent. Getting likes and followers and feeling connected to friends feels fantastic, but posting material and worrying about 'haters' causes significant anxieties. Gill uses young women's own words to show how they feel watched all the time; worry about getting things wrong; and struggle to live up to an ideal of being 'perfect'. It's the wake-up call we all need.

In recent years, cultural work has engaged the interest of scholars from a broad range of social science and humanities disciplines. The debate in this 'turn to cultural work' has largely been based around evaluating its advantages and disadvantages: its freedoms and its constraints, its informal but precarious nature, the inequalities within its global workforce, and the blurring of work-life boundaries leading to 'self-exploitation'. While academic critics have persuasively challenged more optimistic accounts of 'converged' worlds of creative production, the critical debate on cultural work has itself leant heavily towards suggesting a profoundly new confluence of forces and effects. Theorizing Cultural Work instead views cultural work through a specifically historicized and temporal lens, to ask: what novelty can we actually attach to current conditions, and precisely what relation does cultural work have to social precedent? The contributors to this volume also explore current transformations and future(s) of work within the cultural and creative industries as they move into an uncertain future. This book challenges more affirmative and proselytising industry and academic perspectives, and the pervasive cult of novelty that surrounds them, to locate cultural work as an historically and geographically situated process. It will be of interest to students and scholars of sociology, cultural studies, human geography, urban studies and industrial relations, as well as management and business studies, cultural and economic policy and development, government and planning.

Feminist research is informed by a history of breaking silences, of demanding that women's voices be heard, recorded and included in wider intellectual genealogies and histories. This has led to an emphasis on voice and speaking out in the research endeavour. Moments of secrecy and silence are less often addressed. This gives rise to a number of questions. What are the silences, secrets, omissions and and political consequences of such moments? What particular dilemmas and constraints do they represent or entail? What are their implications for research praxis? Are such moments always indicative of voicelessness or powerlessness? Or may they also constitute a productive moment in the research encounter? Contributors to this volume were invited to reflect on these questions. The resulting chapters are a fascinating collection of insights into the research process, making an important contribution to theoretical and empirical debates about epistemology, subjectivity and identity in research. Researchers often face difficult dilemmas about who to represent and how, what to omit and what to include. This book explores such questions in an important and timely collection of essays from international scholars.

Feminist research is informed by a history of breaking silences, of demanding that women's voices be heard, recorded and included in wider intellectual genealogies and histories. This has led to an emphasis on voice and speaking out in the research endeavour. Moments of secrecy and silence are less often addressed. This gives rise to a number of questions. What are the silences, secrets, omissions and and political consequences of such moments? What particular dilemmas and constraints do they represent or entail? What are their implications for research praxis? Are such moments always indicative of voicelessness or powerlessness? Or may they also constitute a productive moment in the research encounter? Contributors to this volume were invited to reflect on these questions. The resulting chapters are a fascinating collection of insights into the research process, making an important contribution to theoretical and empirical debates about epistemology, subjectivity and identity in research. Researchers often face difficult dilemmas about who to represent and how, what to omit and what to include. This book explores such questions in an important and timely collection of essays from international scholars.

Contents:
Part One Theoretical Developments in the Gender-Technology Relationship: Feminist Sociology and Methodology: Leaky Black Boxes in Gender/Technology Relations; On Some Failures of Nerve in Constructivist and Feminist Analyses of Technology. Part Two Case Studies of the Gender- Technology Relation: Gender is Calling: Some Reflections of Past, Present and Future Uses of the Telephone; The Configuration of Domestic Practices in the Designing of Household Appliances; New Reproductive Technologies and "the Modern Condition" in South East England; Networking Constructions of Gender and Constructing Gender Networks: Considering Definitions of Woman in the British Cervical Screening Programme; Competition and Collaboration in the Male Shaping of Computing; Negotiating A Software Career: Informal Work Practices And "The Lads" In a Software Installation.

Contents:
Part One Theoretical Developments in the Gender-Technology Relationship: Feminist Sociology and Methodology: Leaky Black Boxes in Gender/Technology Relations; On Some Failures of Nerve in Constructivist and Feminist Analyses of Technology. Part Two Case Studies of the Gender- Technology Relation: Gender is Calling: Some Reflections of Past, Present and Future Uses of the Telephone; The Configuration of Domestic Practices in the Designing of Household Appliances; New Reproductive Technologies and "the Modern Condition" in South East England; Networking Constructions of Gender and Constructing Gender Networks: Considering Definitions of Woman in the British Cervical Screening Programme; Competition and Collaboration in the Male Shaping of Computing; Negotiating A Software Career: Informal Work Practices And "The Lads" In a Software Installation.

In Confidence Culture, Shani Orgad and Rosalind Gill argue that imperatives directed at women to "love your body" and "believe in yourself" imply that psychological blocks rather than entrenched social injustices hold women back. Interrogating the prominence of confidence in contemporary discourse about body image, workplace, relationships, motherhood, and international development, Orgad and Gill draw on Foucault's notion of technologies of self to demonstrate how "confidence culture" demands of women near-constant introspection and vigilance in the service of self-improvement. They argue that while confidence messaging may feel good, it does not address structural and systemic oppression. Rather, confidence culture suggests that women-along with people of color, the disabled, and other marginalized groups-are responsible for their own conditions. Rejecting confidence culture's remaking of feminism along individualistic and neoliberal lines, Orgad and Gill explore alternative articulations of feminism that go beyond the confidence imperative.

This volume approaches questions about gender and the politics of appearance from a new perspective by developing the notion of aesthetic labour. Bringing together feminist writing regarding the 'beauty myth' with recent scholarship about new forms of work, the book suggests that in this moment of ubiquitous photography, social media, and 360 degree surveillance, women are increasingly required to be 'aesthetic entrepreneurs', maintaining a constant state of vigilance about their appearance. The collection shows that this work is not just on the surface of bodies, but requires a transformation of subjectivity itself, characterised by notions of personal choice, risk-taking, self-management, and individual responsibility. The book includes analyses of online media, beauty service work, female genital cosmetic surgery, academic fashion, self-help literature and the seduction community, from a range of countries. Discussing beauty politics, postfeminism, neoliberalism, labour and subjectivity, the book will be of interest to scholars and students with an interest in Gender, Media Studies, Cultural Studies, Sociology, Social Psychology and Management Studies. "This highly engaging, smart, and wide-ranging collection analyzes how, under the self-governing mandates of neoliberalism, the demands that girls and women regulate and control their bodies and appearance have escalated to new, unforgiving levels. A special strength of the book is its emphasis on the rise of 'aesthetic labour' as a global, transnational and ever-colonizing phenomenon that seeks to sweep up women of all races, ages and locales into its disciplinary grip. Highly recommended." -Susan J Douglas, University of Michigan, USA the inherited responsibility that remains women's particular burden to manage." -Melissa Gregg, Intel Corporation, USA "This book incisively conceptualizes how neo-liberalist and postfeminist tendencies are ramping up pressures for glamour, aesthetic, fashion, and body work in the general public. In a moment when YouTube 'makeup how to' videos receive millions of hits; what to wear and how to wear it blogs clock massive followings; and staying 'on brand' is sold to us as the key to personal and financial success, 'aesthetic entrepreneurship' is bound to become a go-to concept for anyone seeking to understand the profound shifts shaping labor and life in the 21st century." -Elizabeth Wissinger, City University of New York, USA

Creative hubs have become a cornerstone of economic and cultural policy with only the barest amount of discussion or scrutiny. This volume offers the first interrogation of creative hubs, with ground-breaking critical writing from a combination of established scholars and new voices. Looking across multiple sites trans-nationally, and combining theoretical and empirical reflections, it asks: what are creative hubs, why do they matter, and are they making the world a better place? Creative Hubs in Question discusses creative hubs in relation to debates about creative cities, co-working spaces and workers' co-operatives. Featuring case studies from Argentina to the Netherlands, and Nigeria to the UK, the contributions address how hubs are situated in relation to projects of equality and social justice, and whether and in what ways they change the experiences of the creatives who work in them. Drawing on a range of disciplinary perspectives including sociology, geography, economics, media and communications, culture and creative industries, critical policy studies, gender studies, race and ethnicity, and urban studies, this collection will be of interest to policy makers, academics, scholars, students and practitioners across these fields.

This volume approaches questions about gender and the politics of appearance from a new perspective by developing the notion of aesthetic labour. Bringing together feminist writing regarding the 'beauty myth' with recent scholarship about new forms of work, the book suggests that in this moment of ubiquitous photography, social media, and 360 degree surveillance, women are increasingly required to be 'aesthetic entrepreneurs', maintaining a constant state of vigilance about their appearance. The collection shows that this work is not just on the surface of bodies, but requires a transformation of subjectivity itself, characterised by notions of personal choice, risk-taking, self-management, and individual responsibility. The book includes analyses of online media, beauty service work, female genital cosmetic surgery, academic fashion, self-help literature and the seduction community, from a range of countries. Discussing beauty politics, postfeminism, neoliberalism, labour and subjectivity, the book will be of interest to scholars and students with an interest in Gender, Media Studies, Cultural Studies, Sociology, Social Psychology and Management Studies. "This highly engaging, smart, and wide-ranging collection analyzes how, under the self-governing mandates of neoliberalism, the demands that girls and women regulate and control their bodies and appearance have escalated to new, unforgiving levels. A special strength of the book is its emphasis on the rise of 'aesthetic labour' as a global, transnational and ever-colonizing phenomenon that seeks to sweep up women of all races, ages and locales into its disciplinary grip. Highly recommended." -Susan J Douglas, University of Michigan, USA the inherited responsibility that remains women's particular burden to manage." -Melissa Gregg, Intel Corporation, USA "This book incisively conceptualizes how neo-liberalist and postfeminist tendencies are ramping up pressures for glamour, aesthetic, fashion, and body work in the general public. In a moment when YouTube 'makeup how to' videos receive millions of hits; what to wear and how to wear it blogs clock massive followings; and staying 'on brand' is sold to us as the key to personal and financial success, 'aesthetic entrepreneurship' is bound to become a go-to concept for anyone seeking to understand the profound shifts shaping labor and life in the 21st century." -Elizabeth Wissinger, City University of New York, USA

What does it mean to be pedagogical in a post-truth landscape? How might feminist thought and action work to intervene in this environment? Gender in an Era of Post-truth Populism draws together leading feminist scholars of gender and education to explore the current significance of the rise of populist policies and discourses and the challenges it poses to the hard-won battles regarding the rights of women, immigrants, and minorities. Offering the first detailed feminist intervention in this space, the collection explores the significance of populism for feminist pedagogies and practices in relation to gender and education. This exploration has significance for broader and urgent questions of our times regarding knowledge, authority, truth, power and harm and considers the potential for feminist interventions in relation to pedagogies and activisms to speak back and disrupt populist agendas.

Social media is replete with images of 'perfection'. But many are unrealistic, and contribute to a pervasive sense of never being good enough: not thin enough; not pretty enough; not cool enough. Try too hard and you risk being condemned for seeming desperate, don't try hard enough and you're slacking. Rosalind Gill challenges polarised perspectives that see young women as either passive victims of social media or as savvy digital natives. She argues the real picture is far more ambivalent. Getting likes and followers and feeling connected to friends feels fantastic, but posting material and worrying about 'haters' causes significant anxieties. Gill uses young women's own words to show how they feel watched all the time; worry about getting things wrong; and struggle to live up to an ideal of being 'perfect'. It's the wake-up call we all need.

What does it mean to be pedagogical in a post-truth landscape? How might feminist thought and action work to intervene in this environment? Gender in an Era of Post-truth Populism draws together leading feminist scholars of gender and education to explore the current significance of the rise of populist policies and discourses and the challenges it poses to the hard-won battles regarding the rights of women, immigrants, and minorities. Offering the first detailed feminist intervention in this space, the collection explores the significance of populism for feminist pedagogies and practices in relation to gender and education. This exploration has significance for broader and urgent questions of our times regarding knowledge, authority, truth, power and harm and considers the potential for feminist interventions in relation to pedagogies and activisms to speak back and disrupt populist agendas.

Concu comme outil pedagogique pour des cours avances et intermediaires avances de francais langue seconde, Le francais dans le village global est un manuel de lecture et d'ecriture qui utilise la methode communicative. Le manuel s'articule sur six chapitres qui tracent, au moyen d'une grande variete de textes d'actualite ainsi qui d'extraits litteraires, l'histoire culturelle de la langue francaise de ses origines a son statut pluriculturel dans le monde d'aujourd'hui. Les exercices qui accompagnent les textes sont etroitement lies au contenu et visent a developper les strategies d'apprentissage pour l'ecrit, la lecture et l'acquisition des structures grammaticales.Le succes rencontre par la premiere edition a conduit les auteures a reprendre l'ouvrage pour l'elargir et l'actualisesr. La nouvelle edition presente de nouvelles perspectives sur l'histoire de la langue francaise et sur son role dans le monde moderne.