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The Lock on My Lips foregrounds gender, narrative and identity in its representations. It tells the story of a woman who defies traditional patriarchal boundaries that deny women their rights, most especially the right to landed property and buys land in her name. Discursive constructions, 'travelling concepts', metaphors, multiple perspectives, narrative, imagery, folklore, anthropological objects, and mixed-genre plot structure (narrative-(poetic)-drama), combine to tell the story of gendered beings and thus pave the way for exploring the interdisciplinary potentials of the play-text. Land and genre are gender markers. Land is definable through power and authority, constitutes the material with which masculinities are constructed, and thus becomes a space where women are excluded. The play equates land with patriarchal ideology of male virility and supremacy, but creates a mixed-genre fragmentary structure to disrupt the very patriarchal power erected through the metaphor of land.
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Weaving Women’s Spheres in Vietnam offers an in-depth study of the status of women in Vietnamese society through an examination of their roles in the context of family, religious and local community life from anthropological, historical and sociological perspectives. Unlike previous works on gender issues relating to Vietnam which focus on women as passive subjects and are restricted to specific spheres such as family, this book, through a series of case studies and life stories, not only examines the suppressive gender structure of the Vietnamese family, but also demonstrates Vietnamese women's agency in appropriating that structure and creating alternative spheres for women which they have interwoven in between the dominant realms of public and private spheres in the areas of family, religious practice, community organizations, and politics, including their participation in the (re)construction of national identity. Accordingly, this volume is expected to become an important new benchmark relating to gender issues in Asian societies, especially in the context of so-called ‘transitional’ societies, such as China and Vietnam. Contributors include: Kirsten W. Endres, Ito Mariko, Ito Miho, Kato Atsufumi , Hy V. Luong, Miyazawa Chihiro, Thien-Huong T. Ninh, Tran Thi Minh Thi.
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The story of Venus of Khala-Kanti unfolds in the ancient forests of an imaginary West African village. The story is at once a straightforward narrative of human courage and an allegory for the amputation of a continent and its peoples. The tale is, above all, the story of hope, recovery and rediscovery. The vitality and reclamation of the characters is accomplished through an indomitable and lyrical animation of the natural world in concert with human kindness, empathy and zest for life.
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From her early childhood in the Dominican Republic, Rhina Espaillat learned the pleasures of traditional lyric poetry with wordplay, repetition, and patterns of sounds that allow for interplay between sound and sense.
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