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The years of the Third Republic (1870-1940) in France were ones of intense social and economic transformation as workers struggled to defend their rights in the face of growing industrial capitalism. In The Fabric of Gender, Helen Chenut paints a vivid picture of working life during these years by following four generations of laboring women and men in one community, the textile town of Troyes in the Champagne region. In Troyes workers were locked in an adversarial relationship with mill owners, whose monopoly over the labor market in a single-industry town largely determined the workers' future. And yet workers managed to create a counterculture of resistance by founding labor unions, consumer cooperatives, and socialist parties through which they were gradually able to implement change. Women were key actors in this struggle as their garment-making skills became increasingly important to the growing productivity of the knitted textile industry. Drawing upon rich archival records, oral histories, and highly evocative illustrations, Chenut tells a fascinating story of this fight for a "social republic," one in which both men and women had the right to work for a living wage and to partake in a consumer society. The Fabric of Gender appears at a time when European labor historians are reexamining their field. Chenut's innovative study of working-class culture--integrating gender, class, politics, and consumption--stands as a model for the expansion of labor history beyond traditional lines of inquiry.
A collection of thoughts on the future by female visionariesscientists, philosophers, and psychospiritual writersincludes contributions from Jean Houston, Joanna Macy, Sue Bender, Joan Borysenko, Caroline Myss, Marion Woodman, and Gloria Steinem, among others. Reprint.
In this feminist history of eight centuries of private life in China, Francesca Bray inserts women into the history of technology and adds technology to the history of women. Bray takes issue with the Orientalist image that traditional Chinese women were imprisoned in the inner quarters, deprived of freedom and dignity, and so physically and morally deformed by footbinding and the tyrannies of patriarchy that they were incapable of productive work. She proposes a concept of gynotechnics, a set of everyday technologies that define women's roles, as a creative new way to explore how societies translate moral and social principles into a web of material forms and bodily practices. Bray examines three different aspects of domestic life in China, tracing their developments from 1000 to 1800 A.D. She begins with the shell of domesticity, the house, focusing on how domestic space embodied hierarchies of gender. She follows the shift in the textile industry from domestic production to commercial production. Despite increasing emphasis on women's reproductive roles, she argues, this cannot be reduced to childbearing. Female hierarchies within the family reinforced the power of wives, whose responsibilities included ritual activities and financial management as well as the education of children.
"A fascinating history of…[a craft] that preceded and made possible civilization itself." —New York Times Book Review New discoveries about the textile arts reveal women's unexpectedly influential role in ancient societies. Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women. Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture. Elizabeth Wayland Barber has drawn from data gathered by the most sophisticated new archaeological methods—methods she herself helped to fashion. In a "brilliantly original book" (Katha Pollitt, Washington Post Book World), she argues that women were a powerful economic force in the ancient world, with their own industry: fabric.
This volume looks at how the issues of textiles and gender intertwine across three millennia in antiquity and examines continuities and differences across time and space – with surprising resonances for the modern world. The interplay of gender, identity, textile production and use is notable on many levels, from the question of who was involved in the transformation of raw materials into fabric at one end, to the wearing of garments and the construction of identity at the other. Textile production has often been considered to follow a linear trajectory from a domestic (female) activity to a more 'commercial' or 'industrial' (male-centred) mode of production. In reality, many modes of production co-existed and the making of textiles is not so easily grafted onto the labour of one sex or the other. Similarly, textiles once transformed into garments are often of 'unisex' shape but worn to express the gender of the wearer. As shown by the detailed textual source material and the rich illustrations in this volume, dress and gender are intimately linked in the visual and written records of antiquity. The contributors show how it is common practice in both art and literature not only to use particular garments to characterize one sex or the other, but also to undermine characterizations by suggesting that they display features usually associated with the opposite gender.
In this book, Nina Sylvanus tells a captivating story of global trade and cross-cultural aesthetics in West Africa, showing how a group of Togolese women—through the making and circulation of wax cloth—became influential agents of taste and history. Traveling deep into the shifting terrain of textile manufacture, design, and trade, she follows wax cloth around the world and through time to unveil its critical role in colonial and postcolonial patterns of exchange and value production. Sylvanus brings wax cloth’s unique and complex history to light: born as a nineteenth-century Dutch colonial effort to copy Javanese batik cloth for Southeast Asian markets, it was reborn as a status marker that has dominated the visual economy of West African markets. Although most wax cloth is produced in China today, it continues to be central to the expression of West African women’s identity and power. As Sylvanus shows, wax cloth expresses more than this global motion of goods, capital, aesthetics, and labor—it is a form of archive where intimate and national memories are stored, always ready to be reanimated by human touch. By uncovering this crucial aspect of West African material culture, she enriches our understanding of global trade, the mutual negotiations that drive it, and the how these create different forms of agency and subjectivity.
In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto t-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”—the politics and social practices associated with handmaking—Fray explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval. Closely examining how amateurs and fine artists in the United States and Chile turned to sewing, braiding, knotting, and quilting amid the rise of global manufacturing, Julia Bryan-Wilson argues that textiles unravel the high/low divide and urges us to think flexibly about what the politics of textiles might be. Her case studies from the 1970s through the 1990s—including the improvised costumes of the theater troupe the Cockettes, the braided rag rugs of US artist Harmony Hammond, the thread-based sculptures of Chilean artist Cecilia Vicuña, the small hand-sewn tapestries depicting Pinochet’s torture, and the NAMES Project AIDS Memorial Quilt—are often taken as evidence of the inherently progressive nature of handcrafted textiles. Fray, however, shows that such methods are recruited to often ambivalent ends, leaving textiles very much “in the fray” of debates about feminized labor, protest cultures, and queer identities; the malleability of cloth and fiber means that textiles can be activated, or stretched, in many ideological directions. The first contemporary art history book to discuss both fine art and amateur registers of handmaking at such an expansive scale, Fray unveils crucial insights into how textiles inhabit the broad space between artistic and political poles—high and low, untrained and highly skilled, conformist and disobedient, craft and art.
Until today, Western, European sociology contributes to the social reality of colonial modernity, and gender knowledge is a paradigmatic example of it. Multiple Gender Cultures, Sociology, and Plural Modernities critically engages with these ‘Western eyes’ and shifts the focus towards the global variety of gendered socialities and hierarchically entangled social histories. This is conceptualised as multiple gender cultures within plural modernities. The authors examine the multifaceted realities of gendered life in varying contexts across the globe. Bringing together different perspectives, the volume provides a rereading of the social fabric of gender in contrast to androcentrist-modernist as well as orientalist representations of ‘the’ gendered Other. The key questions explored by this volume are: which social mechanisms lead to conflicting or shifting gender dynamics against the backdrop of global entanglements and interdependencies, and to what extent are neocolonial gender regimes at work in this regard? How are varying gender cultures sociohistorically and culturally structured, and how are they connected within (global) power relations? How can established hierarchies and asymmetries become an object of criticism? How can historical, cultural, social, and political specificities be analysed without gendered and other reifications? That way, the volume aims to promote border thinking in sociological understanding of social reality towards multiple gender cultures and plural modernities.
Many nations affirm the principle of gender equality. As women continue to advance in most walks of life, the impression that equality has been reached and that gender issues no longer pose real problems has naturally gained ground. Yet, many cultural, economic, and social barriers remain. Although as many women as men possess the skills necessary to shape social and economic development, women are still prevented from fully participating in decision-making processes. The papers collected in this volume focus on universities as one of the key institutions providing women with the education and leadership skills necessary for their advancement. Equally important is the role universities play in the shaping of a society's cultural fabric and, consequently, of attitudes towards women and their place in society. Both aspects are examined in this volume on the basis of a number of case studies carried out in western and non-western societies.
In this book, author Claire Oueslati-Porter describes her field research in Binzart, Tunisia's sprawling factory zone and in the surrounding city. She blends conventional ethnography with auto-ethnography, leading readers inside a textile factory, among the women and men workers who navigate intensely gendered labor. While there is pressure to adhere to gendered codes of behavior in the factory, some women engage in subversive gender performances. Oueslati-Porter elucidates a phenomenon that is oft-neglected in studies of women in the Middle East and North Africa: gender-queerness. Further, Oueslati-Porter explores her own perceptions of being a researcher while also being a daughter-in-law in a Tunisian family, and a mother to a toddler-aged son while conducting field work. This ethnography centralizes women's waged and unwaged labor in the understanding of women’s rights Gender, Textile Work, and Tunisian Women’s Liberation will be of interest to students andscholars of anthropology, sociology, women’s, gender, and sexuality studies, LGBTQ+ studies,and Middle East and North Africa studies.