Womanist religious thought centers the experiences of black women but addresses the holistic liberation of communities from multiple and hybridized religious, spiritual, and cultural identities, offering valuable insight for examining the moral aims of the common good and identifying challenges to the good of particular communities. This paper offers a womanist analysis of prevailing conceptions of the common good and accounts of architecture and urban planning’s relation to the common good and civic virtue within the work of Christian (...) theologians. It explores the architectural implications of the common good from a womanist lens and articulates a liberatory vision of the common good and its relation to architectural design and construction. Womanist critiques and insights suggest that the spirituality and participation of common people are vital for shaping architecture for the common good, especially as it addresses whose interests are to be served and how common ground is pursued. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the (...) second one, in which a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its space—the destitute, (...) the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic. (shrink)

This interdisciplinary book examines the work of several female artists since 1960 in the areas of dance, music, installation, photography, architecture, poetry, literature, theater, film, and performance art. Each chapter is primarily devoted to an important work by a single artist, seen within its historical context, and with particular attention to how each artist incorporated gender issues or feminist thought into her respective art form. Laurie Anderson, Gwendolyn Brooks, Jane Campion, Judy Chicago, Zaha Hadid, Pauline Oliveros, Yvonne Rainer, Cindy (...) Sherman, Amy Tan, and Paula Vogel have each made groundbreaking contributions to their fields. As a group, they represent a tremendous diversity of approaches to art making: from accessible to opaque, from overtly feminist to apolitical, from emotive to cool, from controversial to mainstream. (shrink)

In this article, we explore smart deterrents and their historical precedents marketed to women and girls for the purpose of preventing harassment, sexual abuse and violence. Rape deterrents, as we define them, encompass customs, architectures, fashions, surveillant infrastructures, apps and devices conceived to manage and protect the body. Online searches reveal an array of technologies, and we engage with their prevention narratives and cultural construction discourses of the gendered body. Our critical analysis places recent rape deterrents in conversation with (...) earlier technologies to untangle the persistent logics. These are articulated with reference to the ways that proto-digital technologies have been imported into the realm of ubiquitous computing and networks. Our conceptual framework offers novel pathways for discussing feminine bodies and their messy navigation of everyday life that include both threats to corporeal safety and collective imaginings of empowerment. (shrink)

In Book II of the ancient architectural treatise, De architectura, Vitruvius gives a mythical account of the conjoined origins of architecture and language: “[I]n ancient times,” he writes, “men were born like wild animals in the forests, caves and woods, and spent their lives feeding on fodder”. One night, while a fierce storm ravaged the woods where these ancient humans lived, a mighty fire broke out. Faced with the flames, the men and women fled in terror. Some, however, (...) recovering from their initial fright, and sensing the warmth emanating from the blaze, moved closer to it and began to throw more wood on it. Using sign language, those feeding the flames communicated to the others the virtues of the... (shrink)

This paper explores the archaeological finds at the site of Artemis Orthia in Sparta through a gender-based framework. It chronicles the history of the site from the 6th century BCE to modern excavations and critically evaluates the subtle biases of recent scholarship on the artefacts found there, including bronze dedications, the Orthia masks, and an architectural votive. This research aims to question established perceptions of Sparta as unique within Greece and scholarly biases against Laconian art as “backwards” by focusing on (...) the context of the site and looking beyond the infamous literary flogging ritual to ask how women in particular fit into the mythology and archaeology. Utilizing a gender-based lens opens new possibilities and exposes modern preconceptions about gender in the ancient world, uniting seemingly contradictory elements. (shrink)

This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005. First, despite increasing women’s employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in (...) arts and culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation—particularly in architecture and modern dance and fashion —as well as vertical sex segregation—in that attention to women has increased in “highbrow” genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture. (shrink)

In this paper, I seek to address the underrepresentation of Iranian women architects in historical narratives, exploring the perishable traces of their work and contributions to the field of architecture. Inspired by Carla Lonzi's call for women to consider their narrative incomplete and the International Archive of Women in Architecture (IAWA), I delve into the unique challenges Iranian women architects face and their impact on architectural history. I examine the historiographical review of Iranian (...) class='Hi'>women architects, their work, and their contributions to the field, highlighting the importance of preserving and disseminating this often-overlooked knowledge. By investigating the current editorial challenges, I explore how archived material should be disseminated and the agency of such material in shaping a more inclusive and accurate historical narrative. Furthermore, I discuss the role of resources, archives, and new technologies in preserving and accessing the work of Iranian women architects. Considering data feminism and information visualization, I consider the implications of algorithms and digital technologies on accessing archived information and the potential for a more inclusive historical narrative. Through the lens of Iranian women architects, this paper contributes to the broader discussion on the representation and history of women in architecture by unearthing and preserving the perishable traces of their work. (shrink)

Already in the thirteenth and fourteenth centuries, the Minorite and Dominican orders (or Poor Clares and Dominican women) played an important role in town building in terms of religion and social ties, as well as in architecture and urban development. In the late fifteenth and sixteenth centuries, the Franciscan Order became important in the same urban environment, contributing with other monasteries to shaping the changing religiosity. This article studies the relationship of Mendicants’ priories – both male and female (...) – to their urban milieux, for which these orders’ monasteries are typical. The area of interest, however, is not the monastic church but the chapter house and the cloister. Despite the presumed rules of enclosure, a lay public can also be envisioned in these spaces, enabling the study of a partial interconnection between the “outer” secular and the “inner” sacred monastic worlds. A combined historical, art historical, archaeological, and anthropological analysis furthers understanding of the conditions under which these interconnections developed. Urban “artistic” and memorial presentations in the monastic context can be traced, along with activities organized in both the cloister (e.g., funerals and processions) and the chapter house, which also served for other types of lay gatherings (e.g., court or guild chapel). (shrink)

_Varieties of the Self_ discusses human perspectives of the Paraclete (founded in 1129) on sacrifice, intentionality, and views on body and soul. The anthropological approach connects different works written by Peter Abelard to views on the individual within this community.

We consider what genealogical links, kinship and sociality are promised through the marketing of assisted reproductive technologies (ARTs). Using a mixed method of formal analysis of Facebook's algorithmic architectures and textual analysis of twenty-eight adverts for egg donation drawn from the Facebook Ad Library, we analyse the ways in which the figure of the ‘fertile woman’ is constituted both within the text and at the level of Facebook's targeted advertising systems. We critically examine the ways in which ART clinics address (...) those women whose eggs they wish to harvest and exchange, in combination with the ways in which Facebook's architecture identifies, and sorts those women deemed of ‘relevance’ to the commercial ART industry. We find that women variously appear in these adverts as empowered consumers, generous girlfriends, potential mothers and essentialised bodies who provide free-floating eggs. The genealogical and fertility possibility offered through ART is represented with banal ambiguity wherein potentially disruptive forms of biogenetic relatedness and arrangements of kinship are derisked by an overarching narrative of simplicity and sameness which excludes men, messy genealogies and explicitly queer forms of kinship. This rationalisation is supported by the simplicity and certainty of the Facebook targeted advertising algorithm which produces a coherent audience and interpellates users as fertile subjects whose choices are both biologically determined and only available through clinical intervention. (shrink)

As architecture intersects with computer science to engage with large-scale data sets and informational systems, this demands new skills, competencies and commitments. Informed by the findings of an online survey, this article explores how, who and to what extent those in the profession of architecture are investing in technology knowledge and skills, and under what material conditions this occurs. Survey data collected from five large-scale architecture practices in Sydney, Australia finds that while technology-related skills are highly valued (...) in the profession, more men than women are engaging with computationally intensive software and technology skills building remains a largely unstructured and often self-directed enterprise. Drawing on feminist technology studies and digital labour perspectives, it is argued that the drive to computationalise the profession of architecture rests heavily on discretionary, aspirational and invisible labour practices that disadvantage employees with lesser reserves of economic and social capital, and particularly women. This further contributes to revealing neo-liberalism’s influence on the concrete practices of the architecture workplace and highlights how the diminished structural role of employers breeds uneven opportunities and inequitable working conditions. (shrink)

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that (...) the material infrastructures of the modern university-the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans-reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. (shrink)

Abstractabstract:This article revisits the utopian fiction of German science-fiction writer and poet Paul Scheerbart, considering the place of race and gender in his fantastical glass architectural spaces. This is primarily done through a reading of clothing and decoration in these texts, elements that are often explicitly mentioned in relation to women and people of color. Historical context concerning modernist paradigms, metaphorical interpretations of architectural glass, the connection between clothing and architecture, and the place of women in the (...) Werkbund provides a framework that serves to extrapolate the significance of some of Scheerbart's narrative elements, demonstrating the ways Scheerbart's philosophies both aligned with and departed from the modernist trends that were gaining force during his career. His constant self-contradiction, humor, and absurdist plots, however, undermine any notion that Scheerbart's fiction should be understood as straightforward polemics, and serve to complicate his position within the philosophical traditions he has been aligned with. (shrink)

A perennial influence on the aesthetics of fashion, fostered by Plato and Aristotle, is challenged today by a prevalent social constructionism. The latter embraces an impracticable biodenial as well as an incoherent epistemic relativism, reminiscent of Greek Sophism, whereby truth-claims about good fashion may be both true and false either in the same culture at different times or at the same time in different cultures. But a normative aesthetics of Aristotle and Plato, that affirms an epistemic realism, roots women's (...) fashion in their psychobiological nature. The relation of this nature to their sex proceeds paripassu with an erogeneity proper to women's fashion. The case for this fashion as a mode of art that fulfills the complementary natures of men as well as women is not merely coherent. Beyond the coherence, the case is evidenced by the healthfulness of good art that ranges from its beneficial effects in architecture to medical findings on beautiful music such as Bach, Mozart, Celtic and Indian. (shrink)

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while its (...) feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Gender, Domesticity, and the Age of Augustus: Inventing Private LifeDavid FredrickKristina Milnor. Gender, Domesticity, and the Age of Augustus: Inventing Private Life. Oxford Studies in Classical Literature and Gender Theory. Oxford: Oxford University Press, 2005. xii + 360 pp. Cloth, $99.It is the often-difficult task of social history to explain how a given institution (e.g., marriage, education, the army) changed across different types of cultural expression (e.g., legal (...) and moral prescriptions, representation in visual art and literature) and in lived experience. In this fruitful and sometimes brilliant study, Kristina Milnor explores the repositioning of women during the Augustan period with respect to the distinction between public and private life. Over the course of an introduction, five chapters, and an epilogue, she develops the argument that the Augustan period "invented" private life or, more precisely, new strategies for representing private life, in order to make the imperial system look like a return to traditional Roman family values. In making this argument, Milnor looks back to the Republic and forward to Nero; she assembles a wide range of literary and material evidence and makes judicious use of theory. Milnor is primarily concerned with textual representation; as she puts it at one point, the volume is "a study of representation rather than reality" (40–41). However, she does include substantial sections on architecture and space, and in the end it is not clear whether Milnor sees architecture in the Augustan period as a mode of representation or as something that by reshaping behavior necessarily transformed private life in lived experience.The introduction uses Vergil's simile of the housewife spinning in Aeneid 8 to set up the much-debated distinction between "public" and "private" in Roman culture. Milnor notes that the original meaning of privatus during the republic is narrowly oppositional, "a man without a political or military position," but broadened during the empire to mean more generally, "anyone... who did not hold the ultimate 'public' role of emperor" (20). Hence privatus and "domestic" do not mean the same thing: "privatus is necessarily a political word," while "the domestic... functions as a kind of moralized privacy, a concept whose strength lies in its allegiance to supposedly transcendent and apolitical ethical truths" (27). Women emerge during the Augustan period as the preferred symbols of this "moralized privacy," and while the physical and social circumstances of Roman women were highly disparate, the representation of female virtues remains consistent: "the domestic ideal was a construct which did not 'truthfully' represent any woman's life, even at the same time as it purported to represent them all" (38).In the first chapter ("Reading and Writing Gender on the Augustan Palatine"), Milnor argues that Augustus' Palatine complex is "engendered" by the prominence of Niobe, Cleopatra, and the Danaids in its decorative program, pointing to the problematic display of female virtue in the princeps' house. Because of Augustus' unprecedented political position, the "private" behavior of the women in his house became a kind of public performance, a tension that persists in Augustus' larger treatment of the city. In Tristia 2, Ovid addresses Augustus as a fellow author whose "text" is the city of Rome, and just as women [End Page 605] have misread Ovid's poetry licentiously, they frequently appropriate Rome's temples and porticoes for sexual liaisons. Milnor observes that this disingenuous argument at least recognizes women as active and resisting readers of texts, noting further that imperial women (Octavia and Livia) are paradoxically empowered as "authors" of significant public spaces precisely because they were seen to be expressing politically disinterested virtues. The chapter concludes with a look back at Cicero's de Domo Sua, which casts Clodius as a feminized abuser of public space in his appropriation of the Portico of Catulus for his shrine of Libertas; the restoration of Cicero's house, meanwhile, represents the restoration of the Roman state. Milnor argues that this anticipates Augustus' use of his own house as a symbol for Rome, and thus as the site for a paradoxically public performance of the traditions of Roman domesticity.The second chapter, "Domesticity and Display in Vitruvius' de Architectura," begins with two significant questions. Why, if... (shrink)

Permaculture is primarily a thinking tool for designing low carbon, highly productive systems. It originated in Australia in the 1970s and was conceived by Bill Mollison and David Holmgren as a response to the devastating effects of a temperate European agriculture on the fragile soils of an ancient antipodean landscape. Like the dust bowls of the Great Plains in the USA in the 1930s, an alien agriculture has the capacity to turn a delicately balanced ecology into desert. Their initial response (...) was to design a permanent agriculture with tree crops and other perennials inhabiting all the niches from the canopy to the ground cover and below. The soil is left untilled to establish its own robust micro-ecology. Key to this is that the land must be biodiverse and stable for future generations. From perennial tree crops, permaculture has developed into an integrated system of design that encompasses everything from agriculture, horticulture, architecture, and ecology, as well as economy and legal systems for businesses and communities. (shrink)

My essay investigates the representation of female protagonists in selected feature films that were produced in the Central European socialist realm of the 1960s and the long 1970s. While mainly concentrating on Czechoslovakian filmmaker Věra Chytilová and Kira Muratova from Soviet Ukraine, the study will also draw comparisons to the subversive heroines in two East German films. The unifying aspect consists of commenting on the literal construction of a socialist environment through architecture and urban planning. By means of contrasting (...) the individual and the realisation of collec­tive structures, contradictions are disclosed that foreshadow the demise of the socialist project. All film directors introduced here employ women with a crit­ical agency towards systemic regulations that are based on ideological premises. As an art historian, I focus on aesthetic collisions and iconographic prototypes of rebellious femineity, trying to identify a specific visual language that was opposed to the heroic guidelines of Socialist Realism and showed the slow erosion of related formulae, both in art and reality. (shrink)

This article provides a reading and analysis of Foucault’s 1973-4 lecture course Le pouvoir psychiatrique. It begins by situating the course within the wider context of Foucault’s work, notably in relation to Histoire de la folie and the move of the early 1970s to the conceptual tools of power and genealogy. It is argued that Le pouvoir psychiatrique is a rewriting of the last part of Histoire de la folie from the perspective of these new conceptual tools. Analysis then moves (...) to more thematic concerns, showing how this course enriches our understanding of Foucault’s work on the sources of power, the individual and the family, and the spaces of the disciplinary society. Particular focus is given to the role of the army, public health, the hospital, children, women and hospital architecture. The article concludes by showing how the themes of this course, while not worked up for publication themselves, point the way to concerns in Foucault’s later work, notably The History of Sexuality and collaborative work on urban medicine and habitat. (shrink)

Volume 5: Lares et Penates, or the Home of the Future H J Birnstingl Originally published in 1928. " very careful summary." Times Literary Supplement "…his book undoubtedly gives a better understanding of the subject than any other…" Saturday Review This volume considers the labour-saving movement, the ideal house, the influence of women, the "servant problem" and the relegation of aesthetic considerations to the background. 88pp ************** Lucullus, or the Food of the Future Olgar Hartley and C F Leyel (...) Originally published in 1926. "…a clever and witty little volume." Times Literary Supplement " Opens with a brilliant picture of modern man, living in a vacuum-cleaned, steam-heated, credit-furnished suburban mansion with the wolf of hunger in his basement…" Spectator As relevant today as it was when first published this volume examines the issues of feeding an increasing world population, food miles, organic food and vegetarianism, among other things. 88pp ******************** Narcissus, an Anatomy of Clothes Gerald Heard Originally published in 1924. "…an interesting tour-de-force." Time Magazine "In this pioneering study, full of unexpected insights, Gerald Heard shows that in clothes we are still witnessing creation at work."William H. Forthman "Narcissus contains the germs of many of the ideas developed at much greater length by Heard." Edmund Opitz "A brilliant book." Horace Plunkett In his first book, Heard weaves an absorbing historical narrative around the corresponding development of clothing and architecture. Along the way he introduces his seminal, revolutionary ideas on evolution, guaranteed to turn Darwin's world upside down. He declares, "Clothes were more important than was allowed," noting, "It will become evident everywhere that we can trace in detail the connection of clothes and building, that change takes place first in the outer and so passes to the inner." Gerald Heard's unique survey stands the test of time as a fascinating work of originality and insight. 146pp. **************** Bacchus or wine to-day and to-morrow P Morton Shand Originally published in 1927. "An entrancing little volume." Brewer and Wine Merchant "Very sound sense." Times Literary Supplement This volume discusses different aspects of viticulture: types of wines, the future of Empire wines, vine disease as well as social and political issues associated with alcohol consumption and predicts a time when wine will be considered as a food essential to moral and physical well-being, rather than a dangerous artificial stimulant. 90pp. (shrink)

This volume considers the phenomenon of yoga travel as an instance of a broader genre of ‘spiritual travel’ involving journeys to places ‘elsewhere’, which are imagined to offer the possibility of profound personal transformation. These imaginings are tied up in a continued exoticization of the East, but they are not limited to that. Contributors identify various themes such as authenticity, suffering, space, material markers, and the idea of the ‘spiritual’, tracing how these ideas manifest in conceptions and fetishizations of ‘elsewhere.’ (...) To deepen its analysis of this phenomenon, the book incorporates a wide range of disciplines including architecture, sociology, anthropology, philosophy, women’s studies, religious studies, and history. While the book’s primary focus is yoga and yoga travel, contributors offer up an array of other case studies. Chapters delve into the complex questions of agency and authenticity that accompany the concept of ‘spiritual travel’ and ideas of ‘elsewhere.’. (shrink)

Abstract:AbstractThis essay reads expressive work by Peju Alatise as an experimental Afro-matriarchal visual language emerging from Nigeria. Initiating a conscious confrontation of neo-colonial patriarchy in contemporary African art, Alatise develops a radical womanist voice to question the monologue of Afro-patriarchal pronouncements around which globalization is emerging from the former western colonies in Africa. The essay positions Alatise in historical perspective perpendicular to her body of work, highlighting her contribution to the vocabulary of emergent Afro-matriarchal aesthetics germinating in the Third world. (...) The playful imaginary leap in Alatise's work is unpredictable, as her characters jump across traditional boundaries of painting, sculpture, installations and performance arts. The transdisciplinary creativity coming from Alatise's resistance is not simply reactive: she espouses cultural initiatives grounding a difference that is independent of patriarchal cultural hegemony. Her work is therefore a proactive engagement engendering the foundations of an Afro-matriarchal discourse in Nigerian art, while contributing to a genre reexamining the colonial politics of women configuration of space. (shrink)

A timely addition to Henry Giroux's Critical Interventions series, Ecology and Revolution is grounded in the Frankfurt School critical theory of Herbert Marcuse. Its task is to understand the economic architecture of wealth extraction that undergirds today's intensifying inequalities of class, race, and gender, within a revolutionary ecological frame. Relying on newly discovered texts from the Frankfurt Marcuse Archive, this book builds theory and practice for an alternate world system. Ecology and radical political economy, as critical forms of systems (...) analysis, show that an alternative world system is essential - both possible and feasible - despite political forces against it. Our rights to a commonwealth economy, politics, and culture reside in our commonworks as we express ourselves as artisans of the common good. It is in this context, that Charles Reitz develops a GreenCommonWealth Counter-Offensive, a strategy for revolutionary ecological liberation with core features of racial equality, women's equality, liberation of labor, restoration of nature, leisure, abundance, and peace. (shrink)

In 2007, the artist Josiah McElheny stumbled across a reference to a little-known short story by Paul Scheerbart, “Der Lichtklub von Batavia: Eine Damen-Novellette” (“The Light Club of Batavia: A Ladies’ Novelette”) (1912). McElheny, recognized for his work with glassblowing and elaborate sculptural installations consisting of glass and mirrored objects, was already familiar with Scheerbart’s utopian treatise on glass architecture, which called for the creation of a spiritual environment built from new technology, “the new environment [that] . . . (...) must bring with it a new culture.”1 The artist’s fascination with Scheerbart’s writing extended beyond a shared interest in the medium of glass. In his work, McElheny .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unsaying Life Stories:The Self-Representational Art of Shirin Neshat and GhazelAphrodite Désirée Navab (bio)What connects the two artists in Figures 1 and 2 across time and place? (See pages 40 and 41.) The protagonists seem to be so "at home" in their landscape that they do not stand out as disruptions to a cultural rhythm. They are wearing clothing that symbolizes Iran, and they are in an environment that evokes (...) Iranian art and architecture. In Figure 1, a scene in Shirin Neshat's video Soliloquy (1999), a woman stands near the kind of dome one often sees in Islamic architecture; the compatibility of the curved and the straight lines is striking. The woman is washing herself, possibly in preparation for prayer. Her hands are artistically dyed with henna. Her eyes are closed as the water runs down her face. She seems to be unaware of the camera, involved in a private moment, a purification ritual perhaps. Her clothing, her hands, and the architectural background are all consistent with familiar images of the Middle East. The woman marching in a black chador in a video still by Ghazel (Figure 2) also seems to be quite "at home." The text underneath the image says that both her grandfathers were colonels. This "bothness" is repeated by the text written underneath the image, which appears both in English and in French. She marches to the right of the frame with the straight posture and hint of pants and boots characteristic of a soldier. Like the protagonist in Neshat's video, she neither looks at the camera nor seems to care that it is there. She seems to be re-enacting a private moment of family history.At least, this is what the images say at first glance. Upon closer inspection, the viewer learns that the two protagonists are the artists themselves. They are more than conscious of the camera; they have actually directed these visual narratives. They are posing. This is one role from among many that they could have played. Both artists are native to Iran, but they are [End Page 39] acting in their own productions. They are playing a particular role. They have made the directorial decisions about camera angle and distance, about the time and place, and about the final look of the production. They make images: they are fully aware that they have pictured themselves alongside symbols of Iran. Click for larger view View full resolutionFigure 1.Shirin Neshat. Soliloquy, 1999, production still.So why are they pretending not to be conscious of the camera? The conscious decisions of the artists point to an issue that is left unsaid but whose absence says a lot. Perhaps, beneath all this effort to seem comfortable, there is discomfort as well. Are these people in fact "at home," or has home become foreign to them? Has this alienation propelled these artists to picture themselves together with readily identifiable, traditional markers of Iranian culture? Are these productions a way of re-negotiating their place with their native land, to find a voice, a space from which to speak?Culturally hybrid persons are often caught in the crossfire of prejudices. For hybrid Iranians, these prejudices are exacerbated by international political tensions that fall along three dimensions of limited visions. They include historical prejudice, where each nation dominates the other in the telling of history; cultural prejudice, stemming from mutual suspicion and ignorance; and political prejudice, as a result of inflexibility, of an unwillingness to [End Page 40] envision the other's view. Art can be a powerful means for challenging the stereotypes of mutually antagonistic nations. In autobiographical art, moreover, artists may use the "telling-self" to "unsay" what has been attributed to them through these stereotypes. By literally and metaphorically engaging the public in seeing alternative realities and histories, these artist-philosophers offer an alternative of historical collaboration, cultural knowledge, and political flexibility. Click for larger view View full resolutionFigure 2.Ghazel, Me series, 1997–2000, video still.This deconstructive approach to representation is a significant feature of the camera-based work of two contemporary Iranian women artists: Shirin Neshat (b. 1957) and Ghazel (b. 1966... (shrink)

At the 50-year anniversary of Fluxus, Ken Friedman looks back on the activities and achievements of a laboratory for art, architecture, design, and music. This article examines the political and economic context of the 1950s against which Fluxus emerged to become the most radical and experimental art project of the 1960s, thoroughly international in structure, with women as well as men in central roles. The article examines the hermeneutical interface of life and art through 12 Fluxus ideas: globalism, (...) the unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time, and musicality. (shrink)

_Phenomenology, Architecture and the Built World_ is an introduction to phenomenological philosophy through an analysis of the phenomenon of the built world as an embodiment of human understanding. It aims to establish the value of phenomenological description in establishing the philosophical importance of architecture.

The management of 13,500 women transported to Van Diemen’s Land during the fifty years to 1853 was a constant problem for the authorities. In response to suddenly increased numbers during the 1820s when ships began arriving directly from Britain, ‘female factories’ were built. These multipurpose institutions were designed to process new arrivals, regulate the supply of female convict labour to settler households and punish the recalcitrant. All were impelled by agendas of reform, as well as punishment, and were expected (...) to monitor the bodies of criminals while grinding them into useful citizenry. There is considerable evidence that all failed in their objectives. A lack of suitable tasks, ineffective management, and convict agency derailed administrative plans. Unlike British and Irish penitentiaries, female factories were not closed institutions. Their primary role was to service settler demand for cheap domestic servants. A second paperwork surveillance system regulated the wider circulation of female convict labour. This was much more effective at keeping female convicts in view, although it too met with considerable resistance. We examine the impact of both architectural and bureaucratic surveillance systems on prosecution rates and colonial births, illustrating the impacts of colonial surveillance on both work and reproduction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 513-516 [Access article in PDF] Deborah Tarn Steiner. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press, 2001. xviii + 360 pp. 28 black-and-white figures. Cloth, $39.50. The production of sculpture in metal, stone, and other materials was a craft that virtually disappeared from the Greek world for several centuries after the end of the Bronze (...) Age. Small, solid cast bronze figurines reappeared in the ninth century B.C.E., but it was not until the middle seventh century that the first large-scale stone statues of women and men were created. From that point on, freestanding and architectural sculpture played a central role in Greek society and its artistic expression. While the stylistic evolution of Greek sculpture has been traced many times, in this provocative and ambitious book, Deborah Steiner sets out to examine, from a literary standpoint, "how archaic and classical Greek poets, philosophers, dramatists, and historians introduce statues as cognitive and hermeneutic devices in their texts" (xi). The investigation leads her to analyze what the statues "looked like, how they functioned," and "what they were credited with doing." The resulting book "aims to tell two stories, one about objects, the other about texts, and to show how each proves crucial to the other." The examination is somewhat lopsided, since the intellectual use of the visual material is given far greater emphasis than the statues themselves.The book is divided into five lengthy chapters and an epilogue. The first chapter, "Replacement and Replication," focuses on the physical resemblance of statues to people but not their inner natures. Chapter 2, "Inside and Out," examines, instead, the ways that a statue's exterior can relate more or less exactly to its inner truth. Chapter 3, "The Quick and the Dead," suggests that statues, by their very inertia, closely resemble the dead and therefore mediate in our imagination between the two states. Statues as erotic (or anti-erotic) art objects form the subject of chapter 4, "For Love of a Statue." The fifth and final chapter, "The Image in the Text," returns to the literary relation of sculpture to the production of memory: the similarity between victory odes and victors' statues, funerary epigrams and monuments, and the creation and regulation (on both the social and political levels) of honorary statuary and decrees. The retrospective epilogue is followed by twenty-eight black-and-white illustrations: Most of them depict well-known pieces of sculpture, but there are also several photographs of vase paintings and one of a drachma.In all the chapters, Steiner continually draws attention to the multivalent aspects of statues. The Greeks developed and applied a large and nuanced vocabulary to describe different types of image that embody differences only [End Page 513] poorly translated by our term, "statue": agalma, eidolon, eikon, kolossos, xoanon, and sema. Most of these have provoked extended discussion among modern scholars. The functions that statues played are even more diverse: they could serve as replacements for the absent or deceased individual, as votive offerings, as cult images, as commemorative monuments, as apotropaic devices, as protective symbols, as minatory agents, and occasionally as deadly entities (some statues could madden their viewer and even kill those who abused them or their creators by toppling over). They were also focusing devices that could evoke a wide range of emotional responses, from pity to lust. As exempla they served to instruct, and some could speak with their own voices, sometimes comically (e.g., the herms in Attic comedy) or poignantly through the words inscribed on their bases (e.g., the famous lines of Phrasikleia, the dead maiden who will never be a bride). The repeated use of the first person by funerary figures is particularly evocative. The inscriptions on other figures (like the very early Mantiklos Apollo statuette) make it clear that images could serve as bargaining chips with the gods for past services rendered or debts owed for the future.Other statues defy simple categorization—the Athena Parthenos, for example... (shrink)

Modernist Architecture and Ruins: On Ruins as a Minus, Neoclassicism and the Uncanny.

When my book Reframing Women: A history of New Zealand cinema was published in 2000 New Zealand women’s film was flourishing. There had been an explosion of filmmaking following the upsurge of twentieth century feminism in the 1970s beginning with the international women’s year film Some of My Best Friends are Women and the subsequent production of nine feminist documentary films. The energy generated by these films and the international feminist history projects that uncovered the formerly (...) invisible contribution of women across every sphere of creative was contagious. There was a feeling of optimism that anything was possible. Women were using the camera to focus the lens on themselves and their issues. Between 1980 and 1990 dramas and features dealing with gender issues increased dramatically while the formerly marginalised were gaining access to the technology to explore sexuality and identity politics. There were powerful films about identity by Maori, Pacific, Asian, Yugoslavi... (shrink)

Cass Sunstein and Richard Thaler's proposal that social and legal institutions should steer individuals toward some options and away from others-a stance they dub "libertarian paternalism"-has provoked much high-level discussion in both academic and policy settings. Sunstein and Thaler believe that steering, or "nudging," individuals is easier to justify than the bans or mandates that traditional paternalism involves. -/- This Article considers the connection between libertarian paternalism and the regulation of reproductive choice. I first discuss the use of nudges to (...) discourage women from exercising their right to choose an abortion, or from becoming or remaining pregnant. I then argue that reproductive choice cases illustrate the limitations of libertarian paternalism. Where choices are politicized or intimate, as reproductive choices often are, nudges become not much easier to justify than traditional mandates or prohibitions. Even beyond the context of reproductive choice, it is not obvious how much easier nudges are to justify than bans or mandates. -/- Part I of this Article briefly introduces Sunstein and Thaler's libertarian paternalism. Part II then turns to the context of reproductive choice. Part II.A reviews restrictions on the right to choose an abortion-particularly post-Casey regulations such as waiting periods, requirements that women receive certain types of information, and requirements that women undergo ultrasound-that pitch themselves as steering choice without entirely closing off the right to choose an abortion. This distinction between nudges and prohibitions echoes Sunstein and Thaler's proposals, but works to subordinate women's choices to the judgment of (often male) experts and administrators-hence my term "libertarian patriarchalism." Part II.B reviews efforts to nudge women-particularly teenagers, HIV-positive women, and others thought to be unsuitable mothers-to avoid pregnancy. -/- Part III considers the normative implications of nudging reproductive decisions. In Part III.A, I argue that the political nature of reproductive choices presents a problem for nudges. I do so by considering a parallel with voting rights. Empirical research shows that voters are more likely to choose the candidate listed first on the ballot. Yet we do not empower the administrator in charge of ballot design to choose a default rule that nudges individuals toward the candidate he sincerely believes would promote choosers' welfare. Given the political nature of reproductive choices, a policymaker's attempting to nudge reproductive decisionmaking in the direction he prefers-or indeed in any direction-fails to show adequate respect for the chooser's agency. In Part III.B, I offer an argument that targets the use of nudges in the context of pregnancy. Finally, in Part III.C, I argue that nudges do not merely add choices to an existing menu, but change the substantive choices available to individuals and thereby impose more-than-trivial costs on them. I conclude by exploring the implications of my arguments for nudges more generally. (shrink)

Gender-based forms of administrative violence, such as reproductive violence, are the result of systems designed to enact population-level harms through the production and forcible imposition of colonial systems of gender. Settler statecraft has long relied on the strategic promotion of sexual and reproductive violence. Patterns of reproductive violence adapt and change to align with the enduring goals and evolving needs of settler colonial occupation, dispossession, and containment. The U.S. Supreme Court’s recent decision to end the constitutional right to abortion in (...) Dobbs v Jackson is but one instance of this larger pattern. We analyze reproductive and obstetric violence and the structural trauma they produce through the lenses of i) historical continuity and ii) the global architectures of neoliberal settler capitalism in order to connect reproductive rights rollbacks in the U.S. with the expansion of reproductive violence across a world connected by colonial globalization. (shrink)

The role of Eritrean women in thirty years war of independence brought major changes and reflects in the present demography and economy of Eritrea in the development arena. Their participation in the economy contributes to local production and income by filling the gaps left by men who died in the war or who have left the country and settled in different parts of the world. Despite the growing importance of women for the formal economy, jobs and self-employment opportunities (...) available to women are still clustered in low-productivity and/or low-status industries. To cope with the growing number of female-headed households, Eritrea needs to increase the earning potential of women. This paper indicates that providing women with education at secondary or tertiary level is one way to go. This paper deals with, why Eritrean women are entering into the labour markets: one, family ties and control of women is weakened due to absent men and increasing divorce rates. The second, there is a shortage of male breadwinners. The third, growing education levels increase their earning potential. (shrink)

SummaryA more careful delineation of the ideal‐typical marriage allows the flaws in Berger and Kellner's article to be examined. These flaws stem both from a rather too easy assumption that marriages are egalitarian relationships and that equality means sameness of experience between husbands and wives, and from the use of sexist language combined with a reliance on examples drawn primarily from the husband's experience. Their claim that marriage is a crucial nomic process where individuals gain a sense of identity and (...) of stability must be modified to say that individuals go into marriage with a clear commitment to being husbands and wives and without any realization, or perhaps even the ability to realise, that the current organisation of the nuclear family can be harmful for wives. The nomic processes which take place in marriage are central to a sense of identity and stability as Berger and Kellner claim, but they are only one of many other nomic processes, one of which is accessed only through the world of paid work. For the wife in the ideal‐typical family, to give up her access to nomic processes which have contributed to her sense of who she is and to envelop herself only in the marital conversation is to reduce her power, her sense of herself and her capacity to negotiate successfully within the marital conversation. Couples who may believe in and practise equality may find themselves caught up in a structure which makes equality non‐practicable without really realising how or why this has happened.I believe the foregoing analysis has demonstrated the way in which flawed theory is a probable outcome of reasoning based only on male experience. It is possible through attention to the experience in which the theory is grounded to extend that ground to include women and thus rewrite the theory such that it makes sense for women as well as for men.The implications for equality of educational opportunityThrough a reworking of the theories that make up the knowledge base of tertiary education, female students will not only gain access to theories which do not limit and distort their experience, but they will also gain access to a different form of negotiation within the educational process itself. Currently they learn through a multitude of explicit and implicit statements and through the process of education itself, that their role is to be passive and invisible.To engage them in the process of rewriting the theories themselves is to empower them, to give them a say in what constitutes the knowledge that they have currently been excluded from. In so doing they are learning to challenge one of the most basic foundations of the existing social order because they are asserting their power to question, to interpret men's words, to assert the validity of their experience outside masculine constructions of that experience, to theorize alongside men, not from a position of subordination , but from a position of equality. (shrink)

What can an analysis of power in local communities contribute to debates on women’s legal empowerment and the role of paralegals in Africa? Drawing upon theories of power and rights, and research on legal empowerment in African plural legal systems, this article explores the challenges for paralegals in facilitating women’s access to justice in Tanzania, which gave statutory recognition to paralegals in the Legal Aid Act 2017. Land conflicts represent the single-biggest source of local legal disputes in Tanzania (...) and are often embedded in gendered land tenure relations. This article argues that paralegals can be effective actors in women’s legal empowerment where they are able to work as leaders, negotiating power relations and resisting the forms of violence that women encounter as obstacles to justice. Paralegals’ authority will be realised when their role is situated within community leadership structures, confirming their authority while preserving their independence. (shrink)

The article examines the intersections between gender, racism, global capitalism and corporate multiculturalism. The notion of nation and nationalism for the twenty-first century is explored. Women's voices from Beijing provide a possible imaginary for transnation discourse.

This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining (...) the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together. (shrink)

The philosophy of architecture illuminates the nature of architectural objects, properties, and types—and the sorts of things they are; how we know about and judge architectural objects; and ethical and political considerations of architectural objects and practice. As intersects with the philosophy of the city, one set of questions focuses on (a) how the design process for built structures, and structures designed, relate to specifically urban contexts; (b) how our experience of built structures relates to urban contexts; and (c) (...) how urban contexts relate to their constituent built structures—temporally, process-wise, structurally, behaviorally, and so on. The task, in sum, is to identify what built structures and their urban environments contribute to one another. One promising thesis in this regard is compositionalism, that cities are composed of built structures, and dependent for their character on the character of those structures. A further set of philosophical questions, also at the nexus of matters architectural and urban, focus on such political and ethical issues as the nature of rights and obligations for architectural design in urban milieu and the rights of those who dwell in cities to architectural value, whether aesthetic or practical. Thus, architecture shapes the urban fabric, one piece at a time and—in the opposite direction—cities shape architecture through building code. (shrink)

This article examines the contradictions inherent in blind women’s appearance management. Based on an anthropological analysis of interviews with 40 blind women in Israel, the article argues that while serving as a valuable tool within stigma management, appearance management operates simultaneously as a site of rigorous discipline of the body in an effort to comply with feminine visual norms, and as a vehicle for the expression and reception of sensory pleasure. It argues for the significant role of blind (...) women’s appearance in negotiating normalcy and rejecting the normative, stigmatizing script written for them as disabled-blind-women. By studying the role of appearance in the lives of women who do not rely on sight as a central mode of perception, the article addresses the complicated position of blind women in visual culture and challenges the traditional ocular focus of the study of feminine identity and gender performance. (shrink)

»Consciousness and Its Place in Nature« (Chalmers 2003) is the title of an article written by David Chalmers, which deals with the so called hard problems of consciousness, that means, with those problems that do not concern how functions are performed (Chalmers 1997:4), but deal with the emergence of consciousness in the sense of subjective experience. On the one hand, it is important to treat architecture from the very beginning not only as somehow stylish and useful heaps of stones (...) that are additionally embedded in political and philosophical contexts (whatever that means). On the other hand, architecture belongs to nature just as much as trees, apes, and what apes produce. So architecture is situated between what can be grasped from a ›materialistic‹ point of view, on the one hand, and what depends on subjectivity, on the other hand. As far as a general theory of architecture is able to examine what is essential to architecture, one should keep in mind that we would probably not accept a set of characteristics as sufficient for a building being a piece of architecture as we have learned from Wittgenstein and others concerning categories in general (Kleiber 1993). Finding necessary conditions is not as simple as one may expect either. There is a closely related phenomenon however: Are not some individual buildings more representative of architecture as such than others? Gropius once designed a pigsty for the manufacturer Rosenthal. We are inclined to acknowledge it as a part of his architectural work due to the fact that the famous architect Gropius designed it and gave it a typical International Style appearance. Its being purely a pigsty, not a castle or a dwelling, however may be a reason to deny it this status as architecture (Isaacs 1984:1105). (shrink)

‘Woman questions’ were emphasized in common speech during the time of the party-state in Hungary. In the 1950s this was symbolized by women tractor drivers, Stakhanovites in construction industry, or women who were present in public life and in politics. Mrs Mihály Berki, née Magdolna Szakács was one of the first emblematic female politicians who was appointed the first peasant woman főispán [honorary prefect] from a village at the end of 1948. The central elements of her life story (...) were the social and geographical mobility: how could she adapt to the new roles and environments? What kind of competences did she need? How did she acquire them? Did the image of a peasant woman politician with a kerchief change during her career? I intend to outline a wider social context in connection with the determining features of her career such as her being a female, her peasant background and her institutional socialization. (shrink)

Popular debates about “victim feminism” have receded but underlying concerns about the extent of gender inequality and usefulness of strategies highlighting difference are still relevant. This paper applies Susan Wendell's framework—relating to women's agency under conditions of oppression—to the experience of women firefighters. The framework fits well, but one case reveals the need to modify it by attending to community. An elaboration of the framework is then used to examine four policy issues.