The emerging importance of feminist research paradigms in built environment research

Purpose – This paper seeks to establish and demonstrate the relevance of feminist research methods within built environment research. While no one definition of feminist research exists, many feminist researchers identify characteristics which distinguish it from traditional social science research; it is research that studies women, or that focuses on gender.
Design/methodology/approach – There is a growing body of research into women and the built environment adopting feminist paradigms. This paper explains the dynamic, evolving philosophical basis of feminist research methods drawing comparisons to traditional positivist methodologies and demonstrates that feminist research has characteristics that can be imported into other research paradigms.
Findings – The paper shows that there is much to be learned from an understanding of feminist research for all researchers in the built environment and that by adopting different approaches to research, researchers may find new and original ways of examining complex issues.
Research limitations/implications – The implications are that all researchers in the built environment should consider the benefits of adopting a feminist approach in their research especially where the researcher is seeking to gain a deeper understanding of peoples' experiences.
Originality/value – This paper seeks to raise awareness of the benefits of adopting feminist research methods in a discipline dominated by traditional approaches to research.

Fathoming the fathers in environmental education : a feminist poststructuralist analysis

The purpose of this study is to provide a feminist poststructuralist analysis of the dominant international discourses in environmental education, and how these have been realised in Australian national statements and in state policies over the past two decades, in terms of their implicit views about science, the environment, epistemology and education. The methodology of the study presents an argument for a 'politics of method' in the form of a research approach which reflects the ideology and intent of the study, i.e. an argument toward feminist poststructuralism as a methodology, but with elements of critical feminist research. Part of this methodology involves consideration of the gendered nature of language and discourses, particularly in the sciences. The argument is for the reconstituting of knowledge through feminist standpoint theory and the adoption of standards of 'strong objectivity'. In the spirit of its poststructuralist methodology the study presents three different stories (archaeologies) about environmental education: one told in terms of people, events and their outcomes; one told in terms of the changing views of education and how these were interpreted in environmental education; and the third told in terms of the emergence of ecofeminism as a parallel movement to environmental education and the emerging relationship between these two movements. These stories serve two purposes: to review the relevant literature in these three areas, and to provide the 'data' for later chapters. The discourses of environmental education, particularly those of the 'founders' and UNESCO documents, are then analysed from a poststructuralist perspective, followed by a feminist reconstruction of environmental education which argues for thinking from women's and other marginalized lives as a preferred strategy for environmental education, and develops research principles to explore this possibility. The conclusion reflects on the philosophical and theoretical issues engaged, and the methodological issues addressed, in the study.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

“I would rather write a thesis than a letter”: from description to inscription in feminist pedagogical enquiry

The discourses that dominate schooling and education are complicit in, and circulate reductionist and bounded understandings of social relationships (Lather, 2004; MacLure, 2003; Atkinson, 2003a). Those deeply implicated in these  relationships understand that the pragmatic discourses of teaching and learning do little to elucidate or generate understandings about pedagogy that recognise the complex and contingent. There is a need for research that gives account of the experience of learning to teach without abetting the neoliberal accountability discourses in teacher education. This paper unfolds to the reader one practitioner researcher’s ways to come to know living pedagogy (Aoki, Low & Palulis, 2001) and research through the possibilities of epistolary in pedagogical enquiry.

Feminist perspectives on gender ideology in recent young adult literature

This study of gender in young adult literature examined a range of recently published texts in both the fantasy and realist genres and determined that narrative discourse contests the dominant patriarchal paradigm most sucessfully when female protagonists enact a trickster role.

Fertile bodies - the sexual politics of contraception : a radical feminist perspective

A critical feminist investigation of the sexual politics of contraception over the last hundred years, within an international context. It is contended that the very idea of contraception perpetuates a "heterosexual monoculture of the body" and as a consequence, men can continue to avoid taking responsibility for their "uncontrolled" fertility.

Notion of impaired practice in nursing : a radical feminist perspective

In this radical feminist investigation of impaired practice in nursing it is argued that prejudicial and discriminatory attitudes and behaviours deriving from racism, ageism and lesbian phobia constitute impaired practice in nursing. The author's vision is that society, of which nursing would be a part, would truly care for all, regardless of race, age or sexuality.

Nude and naked : refiguring voyeuristic structures through feminist photographic techniques

Using theoretical, aesthetic and formal means specific to photographic processes, the relational exegesis and exhibition "Visual pleasures" attempts to disrupt visual structures and notions that have traditionally been used to objectify and idealize the body and, at the same time, open the field of vision to alternative and lived feminine pleasures.

Rethinking homework in contemporary Australia : a feminist sociocultural analysis

This thesis develops ethnographically-based studies to offer new perspectives on the practice of homework in Australia. The thesis argues that homework is not simply a technique for improving school performance but is a form of pedagogical work that mediates home-school relations and generates classed and gendered emotional labour.

Nurses tell their stories about the art of nursing using a feminist process

Explores what the Art of Nursing was perceived to be by a group of experienced nurses as identified in stories from their practice. Feminist principles were used in the project.