Afram Publications is an indigenous publishing house in Ghana. Afram Publication is specialized in publishing materials for pre-school and basic education in Ghana. The special focus is the development of local authorship.
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Furaha Publishers founded in 2014 is an independent children’s book publishing house based in Kigali Rwanda. It publishes 30 to 40 titles a year in both Kinyarwanda and English. Two titles were among the top 10 favorite children’s books in 2017.
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Numerous women artists engaged with industrial materials such as plastics in the 1960s and 1970s, contrary to what the discourse of the time would have us believe. As Feminist substances shows, their works offered unique approaches to plastics in art, introducing new material meanings through a feminist lens. With a focus on Europe and Latin America, the book discusses the practices of Carla Accardi, Lea Lublin and Alina Szapocznikow, combining close readings of selected artworks with broader considerations of their social contexts. It explores their use of Sicofoil, plexiglass, plastic inflatables, polyester resin and polyurethane foam to address key concerns of feminist thought in relation to social reproduction, motherhood, memory, desire and illness. Beyond commonplaces of plastics as generic bad materials, Feminist substances considers more complex ways of engaging with synthetic matter, taking into account our messy relationships with these controversial materials.
"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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This book provides a vital new history of feminist performance through an ecological lens. It argues that from the 1960s to the present, artists have used performance to challenge the linked oppression of women and nature. Proposing 'composting' as a new method for writing feminist history, the study moves beyond linear narratives to trace regenerative connections between generations of practitioners. It provides sustained analysis of genres from land art to postdramatic theatre, re-evaluating the work of canonical figures while examining how contemporary artists continue to address these urgent themes. By placing ecofeminism in dialogue with feminist new materialism, queer ecology, and transecological thought, this study demonstrates how performance has been a crucial site for imagining more just and sustainable futures in an age of environmental crisis.
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How can anti-colonial research methodologies be transformative and achieve knowledge justice? This book brings together an eclectic group of leading scholars from around the world to share methodological knowledge grounded in First Nations and majority-world expertise and wisdom. The authors challenge western-centric and colonial approaches to knowledge production and redefine the possibilities of what we can achieve through social research. First Nations and majority-world perspectives are contextual and unique. They share a common aim of disrupting established beliefs on research methodologies and the unquestioned norms that dictate whose knowledge the academy values. The ten chapters in this edited collection describe how the authors draw on Indigenous knowledge systems, feminist frameworks, and creative methodologies as anti-colonial research praxis. The examples span several disciplines such as development studies, geography, education, sexual and reproductive health, humanitarian studies, and social work. Authors use a reflexive approach to discuss specific factors that shape how they engage in research ethically, to lead readers through a reflection on their own practices and values. The book reimagines social research using an anti-colonial lens and concludes with a collaboratively developed and co-written set of provocations for anti-colonial research praxis that situate this important work in the context of ongoing colonial violence and institutional constraints. This book is an essential guide for researchers and scholars within and beyond the academy on how anti-colonial research praxis can produce meaningful outcomes, especially in violent and troubled times. Cover art courtesy of Tawny Chatmon
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This book analyses how three artists - Adrian Piper, Nancy Spero and Mary Kelly - worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of 'the other woman', a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork's aspirations more concrete, it places the artists in correspondence with three writers - Angela Davis, Valerie Solanas, and Laura Mulvey - who also addressed the limited range of images through which women are allowed to become visible.
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Stage rights! explores the work and legacy of the first feminist political theatre group of the twentieth century, the Actresses' Franchise League. Formed in 1908 to support the suffrage movement through theatre, the League and its membership opened up new roles for women on stage and off, challenged stereotypes of suffragists and actresses, created new work inspired by the movement and was an integral part of the performative propaganda of the campaign. Introducing new archival material to both suffrage and theatre histories, this book is the first to focus in detail on the Actresses' Franchise League, its membership and its work. The volume is formulated as a historiographically innovative critical biography of the organisation over the fifty years of its activities, and invites a total reassessment of the League within the accepted narratives of the development of political theatre in the UK.
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In the 1890s Australian and New Zealand women became the first in the world to win the vote. Buoyed by their victories, they promised to lead a global struggle for the expansion of women's electoral rights. Charting the common trajectory of the colonial suffrage campaigns, Distant Sisters uncovers the personal and material networks that transformed feminist organising. Considering intimate and institutional connections, well-connected elites and ordinary women, this book argues developments in Auckland, Sydney, and Adelaide-long considered the peripheries of the feminist world-cannot be separated from its glamourous metropoles. Focusing on Antipodean women, simultaneously insiders and outsiders in the emerging international women's movement, and documenting the failures of their expansive vision alongside its successes, this book reveals a more contingent history of international organising and challenges celebratory accounts of fin-de-siècle global connection.
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The first and only book length study of British screenwriter, director and producer Sally Wainwright. Authors Gorton and Johnson brings together Wainwright's key television series and television films with theoretical work on the concept of emotion and feminist television criticism, exploring Wainwright's contributions to British television through the heroic female characters she creates. The book covers a wide range of theoretical work on melodrama, genre and emotion to explore Wainwright's televisual texts, offering analysis of globally recognised television series such as Happy Valley, Last Tango in Halifax, and Gentleman Jack.
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Engendering an avant-garde is the first book to comprehensively examine the origins of Vancouver photo-conceptualism in its regional context between 1968 and 1990. Employing discourse analysis of texts written by and about artists, feminist critique and settler-colonial theory, the book discusses the historical transition from artists' creation of 'defeatured landscapes' between 1968-71 to their cinematographic photographs of the late 1970s and the backlash against such work by other artists in the late 1980s. It is the first study to provide a structural account for why the group remains all-male. It accomplishes this by demonstrating that the importation of a European discourse of avant-garde activity, which assumed masculine social privilege and public activity, effectively excluded women artists from membership.
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Cases of citation presents a history of artists who incorporated literary references into their work from the 1960s onwards. Through a series of object-focused chapters that each take up a singular 'case of citation', the collection considers how literary citation emerged as a viable and urgent strategy for artists during this period. It surveys eleven artworks by a diverse group of artists - including David Wojnarowicz, Lis Rhodes, Romare Bearden and Silvia Kolbowski - whose citations draw on works as varied as Karl Marx's Das Kapital and Mary Shelley's Frankenstein. The book also features an interview with pioneering feminist artist Elaine Reichek that discusses her career-long commitment to working with text. Together, the artworks and cited texts are approached from various critical angles, with each author questioning and complicating the ways in which we can 'read' textual citations in art.
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Cases of citation presents a history of artists who incorporated literary references into their work from the 1960s onwards. Through a series of object-focused chapters that each take up a singular 'case of citation', the collection considers how literary citation emerged as a viable and urgent strategy for artists during this period. It surveys nine artworks by a diverse group of artists - including David Wojnarowicz, Lis Rhodes, Romare Bearden and Silvia Kolbowski - whose citations draw on literary works with authors ranging from Gertrude Stein to Jean Genet. The book also features an interview with pioneering feminist artist Elaine Reichek that discusses her career-long commitment to working with text. Together, the artworks and cited texts are approached from various critical angles, with each author questioning and complicating the ways in which we can 'read' textual citations in art.
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This book marks an important new intervention into a vibrant area of scholarship, creating a dialogue between the histories of imperialism and of women and gender. By engaging critically with both traditional British imperial history and colonial discourse analysis, the essays demonstrate how feminist historians can play a central role in creating new histories of British imperialism. Chronologically, the focus is on the late eighteenth to early twentieth centuries, while geographically the essays range from the Caribbean to Australia and span India, Africa, Ireland and Britain itself. Topics explored include the question of female agency in imperial contexts, the relationships between feminism and nationalism, and questions of sexuality, masculinity and imperial power.
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How do feminist movements develop and organise in ethno-nationally divided societies? How does this challenge our understandings of contemporary fourth wave feminism? Women's Troubles sets out to answer these questions using rich empirical data and analysis in an examination of feminist activism after the Northern Irish peace agreement. Utilising feminist frameworks and debates on movement building, policymaking, abortion rights, gender-based violence and the UN women, peace and security agenda, Claire Pierson interrogates the opportunities and challenges in articulating a feminist voice and creating feminist spaces in the conflict transformational politics and society. Capturing the complexities of contemporary feminist movement building in a divided society, Women's Troubles contributes to ongoing analysis of contemporary global feminisms.
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This timely in-depth study of award-winning Kate Atkinson's work provides a welcome comprehensive overview of the novels, play and short stories. It explores the major themes and aesthetic concerns in her fiction. Combining close analysis and literary contextualisation, it situates her multi-faceted work in terms of a hybridisation of genres and innovative narrative strategies to evoke contemporary issues and well as the past. Chapters offer insights into each major publication (from Behind the Scenes at the Museum to Big Sky, the latest instalment in the Brodie sequence, through the celebrated Life After Life and subsequent re-imaginings of the war) in relation to the key concerns of Atkinson's fiction, including self-narrativisation, history, memory and women's lives.
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Beyond the Happening uncovers the heterogeneous, uniquely interdisciplinary performance-based works that emerged in the aftermath of the early Happenings. By the mid-1960s Happenings were widely declared outmoded or even 'dead', but this book reveals how many practitioners continued to work with the form during the late 1960s and 1970s, developing it into a vehicle for studying interpersonal communication that simultaneously deployed and questioned contemporary sociology and psychology. Focussing on the artists Allan Kaprow, Marta Minujín, Carolee Schneemann and Lea Lublin, it charts how they revised and retooled the premises of the Happening within a wider network of dynamic international activity. The resulting performances directly intervened in the wider discourse of communication studies, as it manifested in the politics of countercultural dropout, soft power and cultural diplomacy, alternative pedagogies, sociological art and feminist consciousness-raising.
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Liebe, Feminismus, für den Helden dieses Buches ist das ab sofort das Gleiche. Er verliebt sich in eine Hardcore-Feministin. Das heißt: in Lichtgeschwindigkeit vom ignoranten Gewohnheitsmacho zum Judith-Butler-Exegeten, mit den entsprechenden Kollateralschäden bei Familie, Freunden und am Arbeitsplatz. Denn für die Gleichberechtigung kämpft er mit wirklich allen zur Verfügung stehenden Mitteln … Ein Roman für alle, die sich einig sind, dass sie Mario Barth scheiße finden, in Sachen Feminismus sonst aber bisweilen nicht weiterwissen. Bevor er sich in Najwa verliebt, hat er keinen blassen Schimmer vom Feminismus. Er ist ein 08/15-Typ mit den üblichen Vorurteilen, blinden Flecken, problematischen Verhaltensweisen. Aber bei ihr geht er in eine harte Schule. Sein Blick auf die Welt verändert sich: Beeinträchtigungen, Ungerechtigkeiten, Diskriminierungen sind plötzlich überall, genau wie die Paradoxien und der Unmut, der ihm entgegenschlägt, sobald er nur wieder irgendwo vom grausamen Patriarchat anfängt. Wie kann er die Frauen in diesem Kampf am besten unterstützen? Ein Wutanfall seiner Mutter bringt ihn auf eine folgenschwere Idee.
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Accessible, introductory student guide which identifies key feminist approaches to popular culture from the 1960s to the present.. The only introduction to both feminist cultural studies and feminism and popular culture published in the UK.. Presents its information in a reader friendly series of case studies on: women's film romantic fiction soap opera consumption and material culture fashion and beauty proactices youth culture and popular music. Will appeal to students across a wide range of disciplines as a variety of popular cultural forms are discussed. ;
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The history of contemporary art is also a history of its newsletters, manifestos, magazines, pamphlets, and journals. Those periodical publications do not simply communicate or record ideas but have worked in exciting ways to shape art's practices, histories and communities. As a new generation of artists, activists and scholars seek to uncover the histories of alternative publishing and artistic networks, this book gathers original archival discoveries while offering methodologies for studying and thinking with those artefacts. As the first essay collection to focus on the periodical art press and the ways we study it, Counter print offers readers an alternative route into the past fifty years of contemporary art, one that is defiantly collaborative, border crossing and disruptive.
