O Punk não é só para o seu Namorado: esfera pública alternativa, processos de identificação e testemunho na cena musical Riot Grrrl

The Riot Grrrl movement started in mid-90s and it consists of girls who use rock as a tool of feminist political struggle. Besides using music as a central element of political identity, this movement is also characterized by the formation of an alternative public sphere (formed by fanzines, blogs and e-zines) that functions both as a way to spread their music and as identification trigger mechanism in relation to their political causes. The aim of this article is to study the instruments that these feminists bands - that deviate from the traditional feminist political movements - use to create identification with their audience, especially from an empirical research of e-zines published by these bands and from the communicative action of their leaders in social networks. It is possible to note that, despite other identification mechanisms, testimonies works as a socialization link which marks the alternative public sphere composed by publications made by Riot Grrrls. The testimony serves as a powerful arranger of collective identities, since it is presupposed in the recognition of a world in common, allocating identity as performative action.

Feminismo na internet: o caso do coletivo marcha das vadias e sua página no facebook

This article analyzes how the Brazilian feminist movements utilize online social networks to expand their sphere of action and mobilization in society through understanding how is the activity of the collective Marcha das Vadias of Rio de Janeiro on your Facebook page and as this group is mobilized in the online environment to organize its annual march, here, specifically the 4th Marcha das Vadias of Rio de Janeiro. Through exploratory, descriptive and analytical qualitative research methodology and analysis of social networks on the Internet, it is concluded that the network generated by the topic "4th Marcha das Vadias of Rio de Janeiro" was central dynamic between a public clear feminist, but weak and little to comprehensive dialogue with society in general positions.

A/r/tografia de um corpo-experiência: arte contemporânea, feminismos e produção de subjetividade

Pós-graduação em Psicologia - FCLAS

Women from the point of view of the Bukowskian narrator: the representation of the feminine universe in Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness

Pós-graduação em Letras - IBILCE

As representações do feminino em As brumas de Avalon, de Marion Zimmer Bradley

This present work is a theoretical and qualitative research divided into three chapters that aims to demonstrate how the representations of the female in the book The Mists of Avalon (1982), writing by Marion Zimmer Bradley, dialogues and revises the tradition of cavalry novels on the Arthurian legend, particularly Thomas Malory's Le Morte D'Arthur (1485) which brings the female from the images ideologically constructed of angel and monster. Bradley innovate the Matter of Britain when she created a version of the Arthurian myth following a perspective guided on the female. From the analysis of the history of Bradley's writing as well as the historical context of the development of feminism and the feminist criticism in which she wrote will be sought-point as The Mists of Avalon part of the tradition, but reframes the traditional episodes in order to deconstruct the patriarchal sense and the male images about the feminine

South Carolina International Women's Year Conference Records - Accession 101 - M43 (57-58)

The South Carolina International Women's Year Conference Records consist of news releases, membership lists, directives, bibliographies, memorabilia, newspaper clippings, and other records, concerning the SC International Women’s Year Conference held June 10-11, 1977 in Columbia, SC which met to discuss women’s issues.

South Carolina Federal Feminist Credit Union Records - Accession 106 - M45 (60)

The South Carolina Federal Feminist Credit Union Records consists of a charter, newspaper clippings, photographs, statements, minutes, correspondence, memoranda and brochures relating to the creation and early history of the Credit Union, the first of its kind in the Southeast and the tenth one established in the nation. The Credit Union dissolved on September 1, 1977.

Mr. USA Pageant Records - Accession 107 - M46 (61)

The Mr. USA Pageant Records consists of letters, news releases, newspaper clippings, memorabilia, and photographs relating to the operation of the pageant and the publicity generated from the pageant. The Mr. USA Pageant was held on May 13, 1977 in Charleston, SC as a spoof of traditional beauty pageants and was sponsored by the National Organization of Women (NOW).

As representações do feminino em As brumas de Avalon, de Marion Zimmer Bradley

This present work is a theoretical and qualitative research divided into three chapters that aims to demonstrate how the representations of the female in the book The Mists of Avalon (1982), writing by Marion Zimmer Bradley, dialogues and revises the tradition of cavalry novels on the Arthurian legend, particularly Thomas Malory's Le Morte D'Arthur (1485) which brings the female from the images ideologically constructed of angel and monster. Bradley innovate the Matter of Britain when she created a version of the Arthurian myth following a perspective guided on the female. From the analysis of the history of Bradley's writing as well as the historical context of the development of feminism and the feminist criticism in which she wrote will be sought-point as The Mists of Avalon part of the tradition, but reframes the traditional episodes in order to deconstruct the patriarchal sense and the male images about the feminine

Formação de um grupo de pesquisa em enfermagem na área da saúde da mulher e gênero

Trata-se do relato da experiência sobre a formação de um grupo de pesquisa por meio da estratégia metodológica participativa e emancipatória da oficina de trabalho. Concebida no âmago da epistemologia feminista, esta opção encerra a possibilidade efetiva da construção de um produto compartilhado e reconhecido como pertencente a todas as participantes, dentre outros inúmeros qualificativos. Foram estabelecidos eixos estruturantes em torno dos quais se desenvolveram os conteúdos e as atividades. Os resultados mostram que, a despeito da diversidade de visões de mundo e experiências, de dificuldades pessoais e institucionais, as participantes tinham uma perspectiva bastante positiva em relação à formação de um grupo de pesquisa para incrementar e difundir o conhecimento de gênero na saúde da mulher. A oficina as instrumentalizou para o empreendimento num clima agradável, leve e prazeroso, nem por isso, menos compromissado com uma inovadora forma de fazer ciência.

Hierarquias reprodutivas: maternidade e desigualdades no exercício de direitos humanos pelas mulheres

A partir da concepção contemporânea de direitos humanos, o texto discute os direitos reprodutivos e o exercício da maternidade. Após histórico e definição dos direitos reprodutivos e dos direitos sexuais, o artigo trata da maternidade voluntária, segura, socialmente amparada e prazerosa, para propor uma reflexão sobre 'hierarquias reprodutivas'. Defende-se que diferentes aspectos das mães - tal como raça, classe social, idade e parceria sexual - determinam a legitimidade e aceitação social destas maternidades, e, portanto, suas vivências. Quanto maior o número de aspectos 'negativos' presentes na mulher (ou casal) ao exercitar a maternidade e/ou a reprodução e cuidado com os filhos, mais próxima da base da pirâmide hierárquica estará e, ainda, maior dificuldade encontrará no exercício de seus direitos humanos. O texto conclui que são necessárias políticas públicas de suporte social à maternidade para as mulheres que assim escolham, indistintamente, visando promover o exercício de seus direitos humanos.

Den flygande maran : En studie om åtta narkotikabrukande kvinnor i Stockholm

Between April 1997 and November 1999, I followed eight socially excluded female drug users in an attempt to describe their lives and living conditions. The study employs an ethnographic approach with the focus being directed at the specific woman and her life in relation to the social context where this life is lived. The study’s objective has been to describe the lives and living conditions of the eight drug-using women, as well as the extent of the opportunities available to them, as being determined by mechanisms of social exclusion. Their lives are understood on the basis of a feminist and social constructionist perspective where perceptions of ‘the drug-abusing woman’ are regarded as the result of constructions of gender and deviance. The theoretical perspectives proceeds from the idea that one is not born a woman but rather becomes one. The fundamental idea is that women become women by means of processes of femininisation, in the context of which certain ways of interpreting and presenting oneself as a woman are regarded as good and others as bad. Our images of ‘the female drug addict’ are based on how we define and interpret deviance and on the cultural and social thought and behaviour patterns we ascribe to people on the basis of bodily differences. It is images of ‘the good woman’ that defines what we regard as characteristic of ‘the bad woman’ and vice versa. The findings are organised into three main topics: femininity, living conditions and social control. The main findings are: The women described themselves as women by relating to normative messages about how women “are and should be”, and their drug use constituted a means of coping with life from their social position. Their life revolved to a large extent around money via a constant struggle to find enough to cover the rent, food and other basic necessities. And finally, how the women’s relations to societal institutions were formed by their social position as ‘female drug addicts’ and how the asymmetry of these relations produced certain fixed patterns of action for the parties involved.

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari

In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.

Normare la vita. Biocontrollo e nuove tecnologie

Questa ricerca, suddivisa in due parti, si concentra sulle problematiche connesse alla normazione della vita e dei corpi delle donne al tempo delle biotecnologie. La Parte I è una genealogia filosofico-politica che ripercorre le tappe analitico-concettuali del dibattito intorno a biopolitica e tecnoscienza, a partire dai contributi teorici di poststrutturalismo e femminismo neomaterialista, e risponde alle domande: Cosa sono diventati i corpi nell’attuale società bio-info-modificata? Qual'è il ruolo delle scienze nelle metamorfosi che interessano soggettività e rapporti di potere? La Parte II è una cartografia dei modi in cui le biotecnologie, riguardanti i corpi delle donne, si sono sviluppate e diffuse. Essa indaga in modo transdisciplinare come in Italia, e più in generale in Europa, sono state normate le tecniche di interruzione volontaria di gravidanza e fecondazione in vitro. Ampio spazio è dedicato ai modi in cui gli attori della bioetica, istituzionale e non, i medici, laici e cattolici, e le case farmaceutiche hanno affrontato questi temi e quello della contraccezione ormonale maschile. Medicina riproduttiva e rigenerativa sono tematizzate sempre in relazione al quadro normativo, per mostrare in che modo esso influenzi l’accesso ai diritti alla salute e all’autodeterminazione delle donne. Il quadro normativo è analizzato, a sua volta, alla luce dei fatti storici più rilevanti e delle culture più diffuse. L’obiettivo della ricerca è duplice: da un lato essa ha il fine di mostrare il modo in cui i corpi delle donne, e la relativa potenza generatrice, siano diventati uno snodo fondamentale nell’articolazione del biocontrollo e nell'apertura dei nuovi mercati legati a medicina riproduttiva e rigenerativa; dall’altro si propone di argomentare come un biodiritto flessibile, a contenuto storico variabile, condiviso e partecipato, sia un’ipotesi praticabile e virtuosa, utile all'eliminazione del gender gap ancora esistente in materia di diritti riproduttivi e sessuali.