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This new interpretation of the Torah provides ways to understand biblical women, taboo issues, and the connections between women and the deity.
Re-visioning the classics, often in a subversive mode, has evolved into its own theatrical genre in recent years, and many of these productions have been informed by feminist theory and practice. This book examines recent adaptations of classic texts (produced since 1980) influenced by a range of feminisms, and illustrates the significance of historical moment, cultural ideology, dramaturgical practice, and theatrical venue for shaping an adaptation. Essays are arranged according to the period and genre of the source text re-visioned: classical theater and myth (e.g. Antigone, Metamorphoses), Shakespeare and seventeenth-century theater (e.g. King Lear, The Rover), nineteenth and twentieth century narratives and reflections (e.g. The Scarlet Letter, Jane Eyre, A Room of One's Own), and modern drama (e.g. A Doll House, A Streetcar Named Desire).
While IR theorists are increasingly critical of neorealist assumptions about the state and the international system, few have explored the gendered construction of the state and its implications for IR. Recognizing this, the authors of this collection explore how core concepts of political and IR theory - the state, sovereignty, power - are reframed through feminist lenses.
This book defines the relationship between gender and international security, analyzing and critiquing international security theory and practice from a gendered perspective. Gender issues have an important place in the international security landscape, but have been neglected both in the theory and practice of international security. The passage and implementation of UN Security Council Resolution 1325 (on Security Council operations), the integration of gender concerns into peacekeeping, the management of refugees, post-conflict disarmament and reintegration and protection for non-combatants in times of war shows the increasing importance of gender sensitivity for actors on all fronts in global security. This book aims to improve the quality and quantity of conversations between feminist security studies and security studies more generally, in order to demonstrate the importance of gender analysis to the study of international security, and to expand the feminist research program in Security Studies. The chapters included in this book not only challenge the assumed irrelevance of gender, they argue that gender is not a subsection of security studies to be compartmentalized or briefly considered as a side issue. Rather, the contributors argue that gender is conceptually, empirically, and normatively essential to studying international security. They do so by critiquing and reconstructing key concepts of and theories in international security, by looking for the increasingly complex roles women play as security actors, and by looking at various contemporary security issues through gendered lenses. Together, these chapters make the case that accurate, rigorous, and ethical scholarship of international security cannot be produced without taking account of women’s presence in or the gendering of world politics. This book will be of interest to all students of critical security studies, gender studies and International Relations in general. Laura Sjoberg is Assistant Professor of Political Science at the University of Florida. She has a Phd in International Relations and Gender Studies from the University of Southern California and is the author of Gender, Justice, and the Wars in Iraq (2006) and, with Caron Gentry, Mothers, Monsters, Whores: Women's Violence in Global Politics (2007)
Feminist (Re)visions utilizes the study of space and place--which extends through sociology, anthropology, cultural studies and area studies, historical perspectives, and philosophy--as a paradigm for cross-disciplinary inquiry. Noting that both the study of space/place and feminism are transected by the lines of spacial, conceptual, and ontological disintegration in contemporary academia, Gail Currie and Celia Rothenberg have culled a collection of writings drawn together from feminist scholars across several disciplines to address three questions: how are subjects constituted in relation to the spaces and places they occupy; how are those spaces and places in turn negotiated and transformed; and how are feminists actively constructing new visions of the female subject in the context of the postmodern academic terrain? This work sets the stage for the development of a productive feminist praxis in an academic world some fear has been relativized and depoliticized by the postmodern turn.
In 1979, the Marxist-Leninist New Jewel Movement under Maurice Bishop overthrew the government of the Caribbean island country of Grenada, establishing the People’s Revolutionary Government. The United States under President Reagan infamously invaded Grenada in 1983, staying until the New National Party won election, effectively dealing a death blow to socialism in Grenada. With Comrade Sister, Laurie Lambert offers the first comprehensive study of how gender and sexuality produced different narratives of the Grenada Revolution. Reimagining this period with women at its center, Laurie Lambert shows how the revolution must be recognized for its both productive and corrosive tendencies. Lambert argues that the literature of the Grenada Revolution exposes how the more harmful aspects of revolution are visited on, and are therefore more apparent to, women. Calling attention to the mark of black feminism on the literary output of Caribbean writers of this period, Lambert addresses the gap between women’s active participation in Caribbean revolution versus the lack of recognition they continue to receive.
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?