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Rejecting traditional notions of what constitutes art, this book
brings together essays on a variety of fiber arts to recoup women's
artistic practices by redefining what counts as art. Although
scholars over the last twenty years have turned their attention to
fiber arts, redefining the conditions, practices, and products as
art, there is still much work to be done to deconstruct the
stubborn patriarchal art/craft binary. With essays on a range of
fiber art practices, including embroidery, knitting, crocheting,
machine stitching, rug making, weaving, and quilting, this
collection contributes to the ongoing scholarly redefinition of
women's relationship to creative activity. Focusing on women as
producers of cultural products and creators of social value, the
contributors treat women as active subjects and problematize their
material practices and artifacts in the complex world of textiles.
Each essay also examines the ways in which needlework both performs
gender and, in turn, constructs gender. Moreover, in concentrating
on and theorizing material practices of textiles, these essays
reorient the study of fiber arts towards a focus on process"the
making of the object, including the conditions under which it was
made, by whom, and for what purpose"as a way to rethink the fiber
arts as social praxis.
With the volume's global perspective and comparative framework,
this collection contributes to the ongoing scholarly examination of
consumption by taking the topic of women, material culture, and
consumption into new arenas. The essays explore the connections
between consumption and subjectivity; they build upon and
complicate the idea that consumption, as a form of meaning making,
is key to the construction of gendered, classed, and national
identities. Providing a cross-cultural perspective on consumption,
the essays are historically specific case studies. While some
essays examine women's consumption in a range of Anglophone and
Francophone locations, primarily in Britain, France, Australia,
Canada, and the US, other essays on Chinese, Senegalese, Indian,
and Mexican women's consumption, particularly as it relates to
fashion and design, provide a comparative framework that will
recalibrate ongoing discussions about consumption and domesticity,
dress and identity, and desire and subjectivity. In addition to its
focus on gender and consumption, this volume addresses gender and
collecting, exploring the tensions between accumulation and
systematic collecting. Also examined is the way in which the
display of collected objects"in Impressionists' paintings, in
mass-produced illustrations, in the glass cases of museums and
department stores"participates in the construction of particular
identities as well as serving as a kind of value-producing material
practice.
Authoring a Discipline traces the post-World War II emergence of
rhetoric and composition as a discipline within departments of
English in institutions of higher education in the United States.
Goggin brings to light both the evolution of this discipline and
many of the key individuals involved in its development. Drawing on
archival and oral evidence, this history offers a comprehensive and
systematic investigation of scholarly journals, the editors who
directed them, and the authors who contributed to them,
demonstrating the influence that publications and participants have
had in the emergence of rhetoric and composition as an independent
field of study. Goggin considers the complex struggles in which
scholars and teachers engaged to stake ground and to construct a
professional and disciplinary identity. She identifies major
debates and controversies that ignited as the discipline emerged
and analyzes how the editors and contributors to the major
scholarly journals helped to shape, and in turn were shaped by, the
field of rhetoric and composition. She also coins a new
term--discipliniographer--to describe those who write the field
through authoring and authorizing work, thus creating the social
and political contexts in which the discipline emerged. The
research presented here demonstrates clearly how disciplines are
social products, born of political struggles for both intellectual
and material spaces.
With the volume's global perspective and comparative framework,
this collection contributes to the ongoing scholarly examination of
consumption by taking the topic of women, material culture, and
consumption into new arenas. The essays explore the connections
between consumption and subjectivity; they build upon and
complicate the idea that consumption, as a form of meaning making,
is key to the construction of gendered, classed, and national
identities. Providing a cross-cultural perspective on consumption,
the essays are historically specific case studies. While some
essays examine women's consumption in a range of Anglophone and
Francophone locations, primarily in Britain, France, Australia,
Canada, and the US, other essays on Chinese, Senegalese, Indian,
and Mexican women's consumption, particularly as it relates to
fashion and design, provide a comparative framework that will
recalibrate ongoing discussions about consumption and domesticity,
dress and identity, and desire and subjectivity. In addition to its
focus on gender and consumption, this volume addresses gender and
collecting, exploring the tensions between accumulation and
systematic collecting. Also examined is the way in which the
display of collected objects"in Impressionists' paintings, in
mass-produced illustrations, in the glass cases of museums and
department stores"participates in the construction of particular
identities as well as serving as a kind of value-producing material
practice.
Rejecting traditional notions of what constitutes art, this book
brings together essays on a variety of fiber arts to recoup women's
artistic practices by redefining what counts as art. Although
scholars over the last twenty years have turned their attention to
fiber arts, redefining the conditions, practices, and products as
art, there is still much work to be done to deconstruct the
stubborn patriarchal art/craft binary. With essays on a range of
fiber art practices, including embroidery, knitting, crocheting,
machine stitching, rug making, weaving, and quilting, this
collection contributes to the ongoing scholarly redefinition of
women's relationship to creative activity. Focusing on women as
producers of cultural products and creators of social value, the
contributors treat women as active subjects and problematize their
material practices and artifacts in the complex world of textiles.
Each essay also examines the ways in which needlework both performs
gender and, in turn, constructs gender. Moreover, in concentrating
on and theorizing material practices of textiles, these essays
reorient the study of fiber arts towards a focus on process"the
making of the object, including the conditions under which it was
made, by whom, and for what purpose"as a way to rethink the fiber
arts as social praxis.
In contrast to much current scholarship on women and material
culture which focuses primarily on women as consumers, this essay
collection provides case studies of women who produced material
objects. The essays collected here make an original contribution to
material culture studies by focusing on women's social practices in
relation to material culture. The essays as a whole are concerned
with women's complex and active engagement with material culture in
the various stages of the material object's life cycle, from design
and production to consumption, use, and redeployment. Also,
theorized and described are the ways in which women engaged in
meaning making, identity formation, and commemoration through their
manipulation of materials and techniques, ranging from taxidermy
and shell work to collecting autographs and making scrapbooks. This
volume takes as its object of investigation the overlooked and
often despised categories of women's decorative and craft
activities as sites of important cultural and social work. This
volume is interdisciplinary with essays by art historians, social
historians, literary critics, rhetoricians, and museum curators.
The scope of the volume is international with essays on
eighteenth-century German silhouettes, Australian aboriginal ritual
practices, Brittany mourning rites, and Soviet-era recipes that
provide a comparative framework for the majority of essays which
focus on British and North American women who lived and worked in
the long nineteenth century. This volume will appeal to a broad
range of students and scholars in women's history, art history,
cultural studies, museum studies, anthropology, cultural and social
history, literature, rhetoric, and material culture studies.
In their search for a relationship, whether long- or short-term,
how do desiring subjects signify their identities and those of
their desiring subjects? The essays in Racialized Politics of
Desire in Personal Ads take up this question by exploring how
writers of personal ads fashion themselves and those with whom they
seek a connection. More specifically, these essays explore the
politics of desire how complex intersections among the social
categories of race, gender and sexuality within personal ads reveal
a dynamic tapestry of power relations and hierarchies. By focusing
on how, in each instance, African Americans both construct and are
constructed discursively in the brief narrative space of personals,
this collection offers a substantively new genre-based exploration
of the politics of desire and makes an important contribution to
studies of language and self; identity politics; cultural studies;
gendered, sexualized and racialized discourses; and the performance
of everyday texts that occupy scholarly attention in a variety of
different disciplines. Those interested in American Cultural
Studies, African American Studies, Sociology, Communication,
Rhetoric, Queer Studies, Critical Race Theory, Women's Studies,
Gender Studies, and Race Relations on a professional or lay basis
will find this book informative and engaging."
In their search for a relationship, whether long- or short-term,
how do desiring subjects signify their identities and those of
their desiring subjects? The essays in Racialized Politics of
Desire in Personal Ads take up this question by exploring how
writers of personal ads fashion themselves and those with whom they
seek a connection. More specifically, these essays explore the
politics of desire_how complex intersections among the social
categories of race, gender and sexuality within personal ads reveal
a dynamic tapestry of power relations and hierarchies. By focusing
on how, in each instance, African Americans both construct and are
constructed discursively in the brief narrative space of personals,
this collection offers a substantively new genre-based exploration
of the politics of desire and makes an important contribution to
studies of language and self; identity politics; cultural studies;
gendered, sexualized and racialized discourses; and the performance
of everyday texts that occupy scholarly attention in a variety of
different disciplines. Those interested in American Cultural
Studies, African American Studies, Sociology, Communication,
Rhetoric, Queer Studies, Critical Race Theory, Women's Studies,
Gender Studies, and Race Relations on a professional or lay basis
will find this book informative and engaging.
"Authoring a Discipline" traces the post-World War II emergence of
rhetoric and composition as a discipline within departments of
English in institutions of higher education in the United States.
Goggin brings to light both the evolution of this discipline and
many of the key individuals involved in its development. Drawing on
archival and oral evidence, this history offers a comprehensive and
systematic investigation of scholarly journals, the editors who
directed them, and the authors who contributed to them,
demonstrating the influence that publications and participants have
had in the emergence of rhetoric and composition as an independent
field of study.
Goggin considers the complex struggles in which scholars and
teachers engaged to stake ground and to construct a professional
and disciplinary identity. She identifies major debates and
controversies that ignited as the discipline emerged and analyzes
how the editors and contributors to the major scholarly journals
helped to shape, and in turn were shaped by, the field of rhetoric
and composition. She also coins a new term--discipliniographer--to
describe those who write the field through authoring and
authorizing work, thus creating the social and political contexts
in which the discipline emerged. The research presented here
demonstrates clearly how disciplines are social products, born of
political struggles for both intellectual and material
spaces.
In contrast to much current scholarship on women and material
culture which focuses primarily on women as consumers, this essay
collection provides case studies of women who produced material
objects. The essays collected here make an original contribution to
material culture studies by focusing on women's social practices in
relation to material culture. The essays as a whole are concerned
with women's complex and active engagement with material culture in
the various stages of the material object's life cycle, from design
and production to consumption, use, and redeployment. Also,
theorized and described are the ways in which women engaged in
meaning making, identity formation, and commemoration through their
manipulation of materials and techniques, ranging from taxidermy
and shell work to collecting autographs and making scrapbooks. This
volume takes as its object of investigation the overlooked and
often despised categories of women's decorative and craft
activities as sites of important cultural and social work. This
volume is interdisciplinary with essays by art historians, social
historians, literary critics, rhetoricians, and museum curators.
The scope of the volume is international with essays on
eighteenth-century German silhouettes, Australian aboriginal ritual
practices, Brittany mourning rites, and Soviet-era recipes that
provide a comparative framework for the majority of essays which
focus on British and North American women who lived and worked in
the long nineteenth century. This volume will appeal to a broad
range of students and scholars in women's history, art history,
cultural studies, museum studies, anthropology, cultural and social
history, literature, rhetoric, and material culture studies.
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