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Femmine e maschi frequentano la scuola insieme fin dai primi anni di vita, ma durante il percorso le loro strade tendono progressivamente a separarsi, come se seguissero dei bivi obbligati che indirizzano le prime verso ambiti di studio di tipo umanistico e i secondi verso percorsi di tipo tecnologico-scientifico. Talvolta, però, in questo quadro così ordinato accadono degli imprevisti che smontano la rigidità di schemi precostituiti: ci sono ragazze che decidono di addentrarsi in percorsi socialmente ritenuti “maschili” e ragazzi che si insinuano in percorsi socialmente intesi come “femminili”. La ricerca descritta nel libro presenta le storie di giovani donne e giovani uomini che operano decisioni anticonformiste, ancora considerate “coraggiose”, “diverse”, quando invece andrebbero ricomprese nella normalità. Le riflessioni educative proposte dalle autrici mirano a perimetrare e decostruire le gabbie culturali nelle quali possono risultare intrappolati studentesse e studenti nel momento cruciale in cui scelgono la loro trafila formativa, ma ambiscono anche a delineare nuove piste per orientarsi consapevolmente, sulla base dei propri reali interessi, curiosità, desideri: fuori dalle gabbie di genere.

Social Issues --- maschile --- femminile --- percorsi formativi --- identità di gener --- cours de formation --- masculin --- féminin --- identité de genre --- training courses --- male --- female --- gender identity

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"Like other English Renaissance writers and dramatists, Shakespeare was attracted to the heroine in male disguise. Gender in Play on the Shakespearean Stage examines the use of this type of character--man playing woman playing man--by framing five plays by Shakespeare against readings of some of the other "female page" plays written by other playwrights of the period. The many variations Michael Shapiro traces are placed in the context of female cross-dressing as a social phenomenon and in the context of female impersonation as the standard way of representing women on the Shakespearean stage. Shakespeare's use of the female page spanned his entire career: The Two Gentlemen of Verona (an early comedy), The Merchant of Venice, As You Like It, Twelfth Night (mature romantic comedies), and Cymbeline (a late romance). Shapiro deploys several modes of literary criticism to establish the distinctiveness of each of Shakespeare's five disguised heroine plays and to trace the subtle and ingenious variations on the motif by such writers as Greene, Fletcher, Chapman, Middleton, Jonson, and Ford. The popularity of the "female page" is examined as a playful literary and theatrical way of confronting, avoiding, or merely exploiting issues such as the place of women in a patriarchal culture and the representation of women on stage. Looking beyond and behind the stage for the cultural anxieties that cross-dressing London women being punished as prostitutes and speculation that the apprentices who played female roles in adult companies engaged in homoerotic practices. [This book] will appeal not only to scholars of Renaissance drama but to any reader interested in the historical construction and analysis of gender and sexuality, both on- and offstage"-- Back cover.

Theatrical science --- Thematology --- Shakespeare, William --- Theâtre --- Rôle selon le sexe --- Women in the theater. --- Women in literature. --- Theater --- Theater. --- Sex role in literature. --- Gender identity in the theater. --- Gender identity in literature. --- Disguise in literature. --- Cross-dressing in literature. --- Child actors. --- Travestisme dans la litterature. --- Femmes dans la litterature. --- Deguisement dans la litterature. --- Rôle selon le sexe dans la litterature. --- Identite de genre dans la litterature. --- Enfants acteurs --- Femmes au theâtre --- Identite de genre au theâtre --- Child actors --- Women in the theater --- Gender identity in the theater --- Identite sexuelle --- Dans la litterature. --- Casting. --- Histoire --- Distribution artistique --- History --- Casting --- Shakespeare, William, --- Characters --- Women. --- Dramatic production. --- Stage history --- England.

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Soggetto nomade (« Sujet nomade ») rassemble, pour la première fois en un seul volume, des clichés pris par cinq photographes italiennes entre le milieu des années 1960 et les années 1980. Les photographies donnent un aperçu de la façon dont la subjectivité féminine était vécue, représentée et interprétée à l'époque, dans un contexte de grands changements sociaux en Italie. Des années de transition du radicalisme politique à l'hédonisme, les années de plomb ont également été des années de grande participation et de conquêtes civiles, principalement dues à la lutte féministe. Ce livre constitue une réflexion visuelle sur l'identité et la représentation à partir des extraordinaires portraits de la communauté travestie de Gênes par Lisetta Carmi (Gênes, 1924), suivis des portraits d'actrices, d'écrivains et d'artistes par Elisabetta Catalano (Rome, 1941-2015), des clichés des mouvements féministes par Paola Agosti (Turin, 1947), des femmes et des jeunes femmes capturées par Letizia Battaglia (Palerme, 1935) dans une Sicile défigurée par la mafia, et des photos d'hommes qui se transformaient en femmes pendant une journée, pendant le carnaval, dans les petites villes de Campanie capturées par Marialba Russo (Naples, 1947).

Portrait photography --- Women --- Transgender people --- Identité de genre --- Femme --- Photographie --- Identity --- Agosti, Paola --- Battaglia, Letizia --- Catalano, Elisabetta --- Carmi, Lisetta --- Russo, Marialba --- fotografie --- documentaire fotografie --- portretfotografie --- vrouwen --- vrouwelijkheid --- gender studies --- Italië --- twintigste eeuw --- Agosti Paola --- Battaglia Letizia --- Carmi Lisetta --- Catalano Elisabetta --- Russo Marialba --- 77.041 --- Exhibitions --- Portrait photography - Exhibitions --- Women - Portraits - Exhibitions --- Transgender people - Portraits - Exhibitions --- Women - Identity - Exhibitions

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This book aims to shine light on work of women in type.The first part of the book offers research on the gender issue in type design field. It includes statistics, data and an overview of some works that address this issue. Further it contains some biographies of female type designers that worked in the 19th and in the beginning of 20th century. These women contributed to the industry, yet they are rarely mentioned in educational material.The second part is a series of the interviews with 14 women that are either currently working as type designers or are in any other way involved in the field of type design. These interviews intend to uncover the topic of unequal share of female and male speakers at type conference as well as the lack of women in the industry. The last part of the book is a showcase of typefaces designed by women. The purpose of this part is to show the great amount and broad variety of such typefaces.Interviews with Designers: Gayaneh Bagdasaryan, Veronika Burian, Maria Doreuli, Louise Fili, Martina Flor, Loraine Furter, Jenna Gesse, Golnar Kat Rahmani, Indra Kupferschmid, Briar Levit, Zuzana Licko, Ana Regidor, Fiona Ross and Carol Wahler.

Grafische kunst --- 2000 --- -Vrouwen --- Graphic arts --- graphic design --- typefaces [type forms] --- typography --- #breakthecanon --- anno 1800-1899 --- anno 1900-1999 --- anno 2000-2099 --- Women printers. --- Women in the book industries and trade. --- Femmes typographes. --- Études sur le genre. --- 21e eeuw --- Vrouw --- Kunst --- Ondernemerschap --- Poëzie --- Grafische vormgeving --- Typografie --- Design en vrouwen --- 766:655.24 --- biografieënverzamelingen --- Gebruiksgrafiek ; typografie ; lettertypes --- Vrouwelijke typografen ; naslagwerken --- Vrouwelijke kunstenaars --- Grafische vormgeving ; typografie ; 20ste en 21ste eeuw --- Typographie --- Graphisme --- Identité de genre --- 766.22.071 --- Grafische industrie en ontwerp ; schrift ; typografie ; beroep --- Etude de genre

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"'To become two: propositions for feminist collective practice' offers a narrative of artist Alex Martinis Roe's research into a genealogy of feminist political practices in Europe and Australia from the seventies until today. These practices include those of the Milan Women's Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women's Studies) at Utrecht University; a network in Sydney including people involved in the Sydney Filmmakers Co-operative, Feminist Film Workers, Working Papers Collective, and the Department of General Philosophy at Sydney University; and Duoda-Women's Research Centre and Ca la Dona, a women's documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe's research forms a proposal for a transgenerational approach to feminist politics. This is further developed as a practical handbook of twenty new propositions for feminist collective practice, which were formed in collaboration with a network of contributors through experiments with these historical practices"--Publisher's website.

Feminism --- Group work in art --- Féminisme --- Identité de genre --- History --- Martinis Roe, Alex, --- kunst --- twintigste eeuw --- 7.038/039 --- 7.039 --- 7.071 MARTINIS ROE --- 7.01 --- activisme --- kunst en politiek --- teamwerk --- groepswerk --- Martinis Roe Alex --- Australië --- eenentwintigste eeuw --- gender studies --- feminisme --- kunsttheorie --- Teamwork in art --- Artistic collaboration --- Roe, Alex Martinis, --- Sociology of culture --- anno 2000-2099 --- Europe --- Australia --- Feminism - History --- Martinis Roe, Alex, - 1982 --- -Martinis Roe, Alex, 1982 --- -Sociology of culture --- -Feminism --- Martinis Roe, Alex, 1982 --- -Martinis Roe, Alex, - 1982 --- -Féminisme --- Theory --- Second feminist wave --- Women's organizations --- Book