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What happens when an individual becomes the subject of many and divergent portraits? “Biography,” says Stephanie Kirkwood Walker, “is a deceptive genre. Positioned between fact and fiction and elusive in its purposes, biography displays an individual life, an existence patterned by conventions that have also shaped the reader’s experience.” In This Woman in Particular, Walker explores versions of Emily Carr’s life that have appeared over the last half-century. Walker contends that the biographical image of Emily Carr that emerges from an accumulation of biographies, films, plays and poetry as well as her own autobiographical writing establishes an elaborated cultural artefact — an “image” that is bound by its very nature to remain forever incomplete and always elusive. She demonstrates how changes in Carr’s biographical image parallel the maturing of Canadian biographical writing, reflecting attitudes toward women artists and the shifting balance between religion, secular attitudes and contemporary spirituality. And she concludes that biography plays a crucial role in all our lives in initiating and sustaining debate on vital personal and collective concerns.
Embracing the excitement and turbulence of sixties Sydney, Ashley is set to make her mark amid uni classes filled with ambitious young males. She imagines her future with a successful career, husband, and a house full of children. But life is never quite that easy. In this compelling memoir, Ashley shares the incomparable heartache of multiple miscarriages, the challenges of single-motherhood, her surprise entry into modeling and the joy of a second chance at love. And when her world is unexpectedly torn apart, Ashley pushes through her grief to find solace in the arts. Laced with humour and moments of thoughtful reflection, A Particular Woman takes you from the back roads of Peron’s Argentina and the mystique of the Far East, to the old country home and garden Ashley painstakingly restores. From the glamour of modeling to the politics of the boardroom, Ashley touches the heart of what it truly means to be a particular woman of our times.
'THE BEAUTY MYTH' FOR THE INSTAGRAM GENERATION Women Don't Owe You Pretty is the ultimate book for anyone who wants to challenge the out-dated narratives supplied to us by the patriarchy. Through Florence's story you will learn how to protect your energy, discover that you are the love of your own life, and realise that today is a wonderful day to dump them. Florence Given is here to remind you that you owe men nothing, least of all pretty. WARNING: CONTAINS EXPLICIT CONTENT (AND A LOAD OF UNCOMFORTABLE TRUTHS). THE FEMINIST BOOK EVERYONE IS TALKING ABOUT. 'An incredible mouthpiece for modern intersectional feminism.' - Glamour 'A fearless book.' - Cosmopolitan 'A hugely influential young woman.' - Woman's Hour 'Rallying, radical and pitched perfectly for her generation.' - Evening Standard
A series of 10 lectures on various aspects of Cognitive Linguistics as these relate to matters of language teaching and learning. Topics addressed include the role of categorization, the nature of rules, the encyclopaedic scope of semantics, spatial expressions, metaphor and metonymy, nouns and nominals, tense and aspect, and the theoretical status of the phoneme.
Migrant Women Transforming Citizenship develops essential insights concerning the notion of transnational citizenship by means of the life stories of skilled and educated migrant women from Turkey in Germany and Britain. It interweaves and develops theories of citizenship, identity and culture with the lived experiences of an immigrant group that has so far received insufficient attention. By focusing on the British and German contexts, it introduces a much needed European and comparative perspective, whilst exploring the ways in which diverging concepts and policies of citizenship allow for a differentiated examination of ethnicity, gender, multiculturalism and citizenship in Europe. Presenting a significant and welcome contribution to our understanding of the complexities of multiculturalism it challenges Orientalist images of women as backward and oppressed. Through engagement with the changing realities of education, work, intimacy, family and social activism, this volume provides a situated account of how the concepts of citizenship, transnationality and culture play out in actual social relations. With its rich empirical material the book explores how migrant women create new practices and meanings of belonging across boundaries. Critiquing dominant multiculturalist and anti-multiculturalist accounts, this book suggests how citizenship debates can be reframed to be inclusive of migrant women as actors. As such it will appeal to those working across a range of social sciences, including sociology and the sociology of work, race and ethnicity; citizenship, cultural and gender studies, as well as anthropology and social and public policy.
With the chick flick arguably in decline, film scholars may well ask: what has become of the woman’s film? Little attention has been paid to the proliferation of films, often from the independent sector, that do not sit comfortably in either the category of popular culture or that of high art––films that are perhaps the corollary of the middle-brow novel, or "smart-chick flicks". This book seeks to fill this void by focusing on the steady stream of films about and for women that emerge out of independent American and European cinema, and that are designed to address an international female audience. The new woman's film as a genre includes narratives with strong ties to the woman’s film of classical Hollywood while constituting a new distinctive cycle of female-centered films that in many ways continue the project of second-wave feminism, albeit in a modified form. Topics addressed include: The Bridges of Madison County (Clint Eastwood, 1995); the feature-length films of Nicole Holofcener, 1996-2013; the film roles of Tilda Swinton; Rachel Getting Married (Jonathan Demme, 2008); Blue Jasmine (Woody Allen, 2013); Frances Ha (Noah Baumbach, 2012), Belle (Amma Asante, 2013), Fifty Shades of Grey (Sam Taylor-Johnson, 2015) and Jane Campion’s Top of the Lake (Sundance Channel, 2013-).
Beginning from the premise that psychology needs to be questioned, dismantled and new perspectives brought to the table in order to produce alternative solutions, this book takes an unusual transdisciplinary step into the activism of Black feminist theory. The author, Suryia Nayak, presents a close reading of Audre Lorde and other related scholars to demonstrate how the activism of Black feminist theory is concerned with issues central to radical critical thinking and practice, such as identity, alienation, trauma, loss, the position and constitution of individuals within relationships, the family, community and society. Nayak reveals how Black feminist theory seeks to address issues that are also a core concern of critical psychology, including individualism, essentialism and normalization. Her work grapples with several issues at the heart of key contemporary debates concerning methodology, identity, difference, race and gender. Using a powerful line of argument, the book weaves these themes together to show how the activism of Black feminist theory in general, and the work of Audre Lorde in particular, can be used to effect social change in response to the damaging psychological impact of oppressive social constructions. Race, Gender and the Activism of Black Feminist Theory will be of great interest to advanced students, researchers, political activist and practitioners in psychology, counselling, psychotherapy, mental health, social work and community development.
This book is a national portrait of immigrant women who live in the United States today, featuring the voices of these women as they describe their contributions to work, culture, and activism. Highlighting the gendered quality of the immigration process, it interrogates how human agency and societal structures interact within the intersecting social locations of gender and migration. The popular debate around contemporary U.S. immigration tends to conjure images of men waiting on the side of the road for construction jobs, working in kitchens or delis, driving taxis, and sending money to their wives and families in their home countries, while women are often left out of these pictures. Through an examination of U.S. Census data and interviews with women across nationalities, we hear the poignant, humorous, hopeful, and defiant words of these women as they describe the often confusing terrain where they are starting new lives, creating architecture firms, building urban high-rises, caring for children, cleaning offices, producing creative works, and organizing for social change. The authors recommend changes for public policy to address the constraints these women face, insisting that new policy must be attentive to the diverse profile of today's immigrating woman: she is both potentially vulnerable to exploitative conditions and forging new avenues of societal leadership.