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Violence and Gender in the Globalized World expands the present
discourse on gender and violence, discovering new ways to address
the complexities encountered in academic research on the topic.
Through the introduction of a variety of uncommonly discussed
geopolitical sites and dynamics, the book redefines the critical
picture of gender violence in the age of globalization, adopting
diverse methodological approaches and various disciplinary praxes
in its investigation of the question of violence against women
across the globe. With an international team of contributors
comprising both scholars and activists, this volume bridges the gap
between academic and activist perspectives on gender violence. As
such, it will be of interest to anyone conducting research in the
areas of gender and sexuality, human rights, cultural studies,
political science, history, postcolonialism and colonialism,
sociology, anthropology, philosophy and religion.
How various mythologies challenge, enable, and inspire women
artists and activists across the globe to communicate personal and
historical experiences of violence is the central concern of this
collection. Beginning with the observation that twentieth- and
twenty-first century female writers and artists often use myth to
represent their social and artistic struggles, the distinguished
international scholars and writers consider mythic fabulations as
spaces for contested meanings and resistant readings. The
identified resistance of the mythic material to repression-working,
as it were, in opposition to another celebrated drive/role of myth,
that of containment-makes the use of myth particularly stimulating
for twentieth-century and contemporary female artists; and it is an
interest in the aesthetic and political consequences of such
resistances that animates this book. Exemplifying the diverse types
of engagement with myth and femininity, literary criticism,
discussions of film and art, artwork, as well as original creative
writing, could all be found within the boundaries of this
innovative volume. Femininity, myth, and violence are here explored
in contexts such as female mythopoiesis in the early twentieth
century; the politics of representation in contemporary writing;
revision of old myths; and creation of new myths in multicultural
female experiences. Keeping the focus on the actual works of art,
the editors and contributors offer scholars and teachers an
inclusive way to approach literature and the arts that avoids the
limits imposed by genre or national and regional boundaries.
How various mythologies challenge, enable, and inspire women
artists and activists across the globe to communicate personal and
historical experiences of violence is the central concern of this
collection. Beginning with the observation that twentieth- and
twenty-first century female writers and artists often use myth to
represent their social and artistic struggles, the distinguished
international scholars and writers consider mythic fabulations as
spaces for contested meanings and resistant readings. The
identified resistance of the mythic material to repression-working,
as it were, in opposition to another celebrated drive/role of myth,
that of containment-makes the use of myth particularly stimulating
for twentieth-century and contemporary female artists; and it is an
interest in the aesthetic and political consequences of such
resistances that animates this book. Exemplifying the diverse types
of engagement with myth and femininity, literary criticism,
discussions of film and art, artwork, as well as original creative
writing, could all be found within the boundaries of this
innovative volume. Femininity, myth, and violence are here explored
in contexts such as female mythopoiesis in the early twentieth
century; the politics of representation in contemporary writing;
revision of old myths; and creation of new myths in multicultural
female experiences. Keeping the focus on the actual works of art,
the editors and contributors offer scholars and teachers an
inclusive way to approach literature and the arts that avoids the
limits imposed by genre or national and regional boundaries.
Violence and Gender in the Globalized World expands the present
discourse on gender and violence, discovering new ways to address
the complexities encountered in academic research on the topic.
Through the introduction of a variety of uncommonly discussed
geopolitical sites and dynamics, the book redefines the critical
picture of gender violence in the age of globalization, adopting
diverse methodological approaches and various disciplinary praxes
in its investigation of the question of violence against women
across the globe. With an international team of contributors
comprising both scholars and activists, this volume bridges the gap
between academic and activist perspectives on gender violence. As
such, it will be of interest to anyone conducting research in the
areas of gender and sexuality, human rights, cultural studies,
political science, history, postcolonialism and colonialism,
sociology, anthropology, philosophy and religion.
The collection of essays The Avant-garde and the Margin: New
Territories of the Modernist Avant-garde refigures the critical and
historical picture of the modernist avant-garde by introducing a
variety of less-commonly discussed geo-artistic sites and dynamics.
The contributors explore the multifaceted relations established
between the avant-garde "centers" (France, Germany, England, and
others) and their counterparts in the cultural "periphery" (Greece,
India, Japan, Poland, Quebec, Romania, and the former Yugoslavia),
as well as the unique artistic and literary dialogues which these
encounters engendered. The primary concern of the anthology is the
set of relations established between the center and the margin, the
redefinition of which was pivotal for the formulation of the
modernist avant-garde aesthetic project itself.While enriching the
kaleidoscopic picture of modernism, the essays in this collection
also offer new methodological approaches to this polychrome
cultural image. In this way, the collection avoids the pitfalls of
both the traditional diffusionist/Eurocentric model of the world
and the more recent over-relativization of the positions of the
margin and the center. In their stead, the anthology proposes a
hermeneutics of encounter that is simultaneously "spatial" and
"historical," aware of its limits but convinced of its own
necessity.
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