International Journal on Multicultural Literature (IJML) Volume 6 Number 2 (July 2016) ISSN 2231-6248 Highlights include: "Portrayal of Man-Woman Pairs in the Fictional World of D. H. Lawrence: An Analysis" --S. Chelliah"Feminism and Feminist Literary Theory: A Brief Note" --C. Ramya"Portrayal of Feminine Spaces and Sensibilities in the Short-fiction of Alice Munro" --Syed Mir Hassim & M. Revathi"Violence, Memory and Identity in Indian English Fiction" --Barinder Kumar Sharma"Relevance of Neo-Slave Narrative Technique in Toni Morrison's Beloved" --Jaya Singh"'Mangalamkali' of Mavilan Tribe: An Ecocritical Reading" --Lillykutty Abraham & Sr. Marykutty Alex IJML is a peer-reviewed research journal in English literature published from Thodupuzha, Kerala, India. The publisher and editor is Prof. Dr. K. V. Dominic, renowned English language poet, critic, short story writer and editor who has to his credit 27 books. He is also the secretary of Guild of Indian English Writers, Editors and Critics (GIEWEC). Since 2011, IJML is a biannual journal published in January and July. The articles are sent first to the referees by the editor and only if they accept, the papers will be published. Although based in India, each issue includes worldwide contributors. Although IJML concentrates on multiculturalism, it also encompasses other literature. Each issue also includes poems, short stories, review articles, book reviews, interviews, general essays etc. under separate sections. IJML is available in paperback, Kindle, ePub, and PDF editions. Distributed by Modern History Press LCO004020 LITERARY COLLECTIONS / Asian / Indic LIT008020 Literary Criticism : Asian - Indic POL035010 Political Science : Political Freedom & Security - Human Rights Learn more at www.profKVDominc.com
bad feminist 2
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'Pink is my favourite colour. I used to say my favourite colour was black to be cool, but it is pink – all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I’m not doing it ironically, though it might seem that way. I once live-tweeted the September issue.' In these funny and insightful essays, Roxane Gay takes us through the journey of her evolution as a woman (Sweet Valley High) of colour (The Help) while also taking readers on a ride through culture of the last few years (Girls, Django in Chains) and commenting on the state of feminism today (abortion, Chris Brown). The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture. Bad Feminist is a sharp, funny and sincere look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better.
This collection of essays focuses on the representations of a variety of “bad girls”—women who challenge, refuse, or transgress the patriarchal limits intended to circumscribe them—in television, popular fiction, and mainstream film from the mid-twentieth century to the present. Perhaps not surprisingly, the initial introduction of women into Western cultural narrative coincides with the introduction of transgressive women. From the beginning, for good or ill, women have been depicted as insubordinate. Today’s popular manifestations include such widely known figures as Lisbeth Salander (the “girl with the dragon tattoo”), The Walking Dead’s Michonne, and the queen bees of teen television series. While the existence and prominence of transgressive women has continued uninterrupted, however, attitudes towards them have varied considerably. It is those attitudes that are explored in this collection. At the same time, these essays place feminist/postfeminist analysis in a larger context, entering into ongoing debates about power, equality, sexuality, and gender.
LET'S GET THE FEMINIST PARTY STARTED! Have you ever wanted to be a superheroine? Join a fandom? Create the perfect empowering playlist? Understand exactly what it means to be a feminist in the twenty-first century? You’ve come to the right place. Forty-four writers, dancers, actors, and artists contribute essays, lists, poems, comics, and illustrations about everything from body positivity to romance to gender identity to intersectionality to the greatest girl friendships in fiction. Together, they share diverse perspectives on and insights into what feminism means and what it looks like. Come on in, turn the pages, and be inspired to find your own path to feminism by the awesome individuals in Here We Are. Welcome to one of the most life-changing parties around!
Female filmmakers are hitting the headlines. The last five years have witnessed: the first Best Director Academy Award won by a woman; women filmmakers emerging from Saudi Arabia, Brunei, Iran, South Korea, Japan, Paraguay, Uruguay, Burkina Faso and Kenya; the first stirrings of a ‘trans cinema’, with the release of films that represent transgender characters and their experiences, challenging our understanding of gender and identity; feminist porn screened at public festivals; and Pussy Riot’s online documentation of offline activism sending shockwaves around the world. Political Animals argues that a new wave of feminist cinema is speaking to a new audience hungry for intersectional accounts of women in the public sphere that are missing in the mainstream. It reveals how innovative production and distribution strategies are responding to urgent political situations (resulting in colourful guerrilla aesthetics exemplified in the rough, D.I.Y, online videos made by Pussy Riot, but equally found in recent documentaries and features by established filmmakers too) and tunes in to the transnational, transgenerational conversations that are taking place between filmmakers such as Sally Potter, Claire Denis, Barbara Hammer, Mania Akbari, Haifaa al-Mansour, Emily Jacir, Andrea Arnold and Clio Barnard. Courageous and complex, the new feminist cinema is a political animal that, while laying claim to the public sphere as its own, refuses to be domesticated by it
"A fine introduction to the bold, contentious, complicated women who categorically refused to be good little girls, and thereby changed the way our culture defines male-female relations".--Voice Literary Supplement.
In this constructive study, Miles proposes a new feminist theological ethic, drawing together the contributions of Reinhold Niebuhr, Sharon Welch, and Rosemary Ruether. Seeking to critically reappropriate the Christian realism articulated by Niebuhr, she reinterprets solutions to problems emergent from his theology. Miles presents feminist Christian realism as an alternative that can reclaim a positive interpretation of divine transcendence and human self-transcendence, while maintaining newer emphases on human boundedness and divine immanence. Theologians and ethicists will find her critical reassessment of the three authors distinctive and her challenging proposal for a "positive creative transformation" a significant contribution to the development of feminist ethics.
The biography of the revolutionary magazine editor who created the “Cosmo Girl” before Sex and the City’s Carrie Bradshaw was even born As the author of the iconic Sex and the Single Girl (1962) and the editor-in-chief of Cosmopolitan magazine for over three decades, Helen Gurley Brown (1922–2012) changed how women thought about sex, money, and their bodies in a way that resonates in our culture today. In Jennifer Scanlon's widely acclaimed biography, the award-winning scholar reveals Brown’s incredible life story from her escape from her humble beginnings in the Ozarks to her eyebrow-raising exploits as a young woman in New York City, and her late-blooming career as the world's first "lipstick feminist." A mesmerizing tribute to a legend, Bad Girls Go Everywhere will appeal to everyone from Sex and the City and Mad Men fans to students of women's history and media studies.
The Gendered Cyborg explores the relationship between representation, technoscience and gender, through the metaphor of the cyborg. The contributors argue that the figure of the cyborg offers ways of thinking about the relationship between culture and technology, people and machines which disrupt the power of science to enfore the categories through which we think about being human: male and female. Taking inspiration from Donna Haraway's groundbreaking Manifesto for Cyborgs, the articles consider how the cyborg has been used in cultural representation from reproductive technology to sci-fi, and question whether the cyborg is as powerful a symbol as is often claimed. The different sections of the reader explore: * the construction of gender categories through science * the interraction of technoscience and gender in contemporary science fiction film such as Bladerunner and the Alien series * debates around modern reproductive technology such as ultrasound scans and IVF, assessing their benefits and constraints for women * issues relating to artificial intelligence and the internet.
Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominent scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class and nation. Feminism and Documentary begins with a substantial historical introduction that highlights several of the specific areas that contributors address: debates over realism, the relationship between filmmaker and subject, historical thinking about documentary and thinking about the historical documentary, biography and autobiography, and the use of psychoanalysis. Other essays, most of which appear here for the first time, range from broad overviews to close analyses of particular films and videos and from discussions of well-known works such as Roger and Me and Don't Look Back to lesser known texts that might revise the canon. The collection includes an extensive filmography and videography with useful distribution information and a bibliography of work in this neglected area of scholarship. Lucid, sophisticated, and eye-opening, this book will galvanize documentary studies and demonstrate the need for women's and cultural studies to grapple with visual media.