Women's silence : in the space of words and images

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of ‘mute’ silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may ‘re-write’ the text and ‘speak’ their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is ‘silent and disembodied’ from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

Gender and the Cybersangha: Buddhist women's online activism and practice

The experiences of Buddhist women across the world today are widely diverse, reflecting their geographical and social location, the type of Buddhism practiced, whether they are lay or ordained, as well as their individual personalities. However, the perception that there is also a shared experience for women who practice Buddhism that is partly defined by a sense of "unequal opportunity" has given rise to a number of organizations and networks particularly since the late 1980s that aim to link this eclectic group of female Buddhist practitioners and activists. Buddhist scholars, nuns and practitioners have been at the forefront of global Buddhist organizations, challenging gender disparities and striving for equality for women in all Buddhist traditions. In recent years, more of this Buddhist women's social movement activity has been conducted digitally through websites, Facebook pages and Twitter accounts. Some organizations, such as Sakyadhita ("Daughters of the Buddha"), which was founded in 1987 before the Internet explosion, have an online presence to complement their offline activities. Others, such as the Alliance for Bhikkhunis and the Yogini Project, have been formed more recently and their web presence is fundamental, with core activities that are web-reliant, including online fundraising and the sharing of digital material. In addition to organizations that are specifically orientated towards women, Buddhist women globally make use of a wider range of web-based opportunities to network with other Buddhists as well as to learn about Buddhist traditions and practices.