gender landscape

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We are looking forward to Katy Collier visiting Stamps School this week as a Roman J. Witt Visiting Artist 

Lecture and color woodcut demo
Tuesday, September 20 1:45pm - 4:30pm, Printmedia Studio, Room 2143

Individual critiques with students
Thursday, September 22 1:45pm - 4:30pm, Printmedia Studio, Room 2143

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Scholars analyzing national cinemas observe that representations of the nation are closely tied to images of land and landscape in film. Emma Widdis (2010) shows that Russian landscapes in cinema contain an ideological imperative in demonstrating “the struggle between individual and collective and a vision of the natural world as an index of subjectivity and its symbolization as a force of history.” Similarly, Bob Britton examines the development of Cuban cinema and the genre of documentary to argue that the “portrayal of landscape” has been a formative premise in Cuban films. Such work has “[mapped] a cultural terra nova of the Revolution” and “shap[ed] aspects of both film and filmmaking in Cuba since 1959” (Britton 2010). In the same vein, Vietnamese films, particularly those made during the era of revolutionary filmmaking, capture the country’s geography in film not only as an ideological placeholder for the country but also as an expressive tool to aestheticize sentiment about the nation. As an objective correlative for the figuration of love, fear, or sorrow, landscape in Vietnamese films is allegorical and endowed with a profound sense of poetry.

Examples of this dynamic abound in the film On the Same River. Centered on two young lovers who live on opposite sides of the Bến Hải River, the black-and-white film retells the story of revolution among the Vietnamese peasantry. Emphasizing the nobility of the nation’s quest for independence, the film is especially significant for its depiction of strong heroines, characters who are not only married to their husbands but also to the nation.[…] In this film, landscape is strongly tied to the thematic of reunification of North and South and the gendering of the nation. The film is paradigmatic of the ways that revolutionary Vietnamese filmmaking deploys both gender and landscape to symbolize the fight for national independence. However, the film also invests in the landscape an autonomous expression, especially when the landscape is used to lyrically communicate the characters’ emotions. Cued by shot/reverse shots of the characters parting and looking off into the sky, for example, a pair of birds may be understood as a metaphor for the lovers and their separation in the film, while a lone boat on the river represents a woman’s despair and loneliness. Linking the land to its people, the film traffics in a visual vocabulary that emphasizes the film’s Manichean conflict between occupying imperialists and an oppressed people. Part of its “expressive grammar,” to use Eve Sedgwick’s (2003) phrase, lies in the characters’ inherent relationship to the land and their acts of insurgence that lay claim to it.

On the Same River | Chung một dòng sông (Nguyễn Hồng Nghi, Phạm Kỳ Nam, 1959): Gender, affect, and landscape: wartime films from Northern and Southern Vietnam by Lan Duong.

Rainbows all over Ireland today as for the first time ever Marriage Equality for all regardless of sexual orientation is voted in by the people. The last 8 years have been rough on our little island and today has been a lift that was sorely needed. I am so proud of my country and the Irish people today. Equality for all :)  

Wonder What Those Traditions Are For?  Read Nation by Terry Pratchett

By J. Christe

Terry Pratchett has woven a sophisticated tale that explores the nature of tradition and culture from an intimate perspective with his book Nation. Unlike his Discworld series, the story unfolds in an alternate history of Earth. Followers of Pratchett know that his prose are full of humor and clever insight into human nature, but this tale shows us a deeper side. The plot includes a Russian influenza pandemic which leaves England’s Gentlemen of Last Resort searching for the 137th heir to the throne. It all goes sideways from there.

A tsunami destroys Mau’s island nation just as he was about to return victorious from the ritual retreat that would have made him a man. Now, without a soul he has no nation to return to, but quickly discovers that he must work with the shipwrecked Daphne if they want to survive. Of course she is the daughter of the 137th heir to the throne, and sole survivor of the Sweet Judy. The Judy was hurled through the island landscape and landlocked. Pratchett takes us on a deep discovery as Mau and Daphne learn what it means to make sacrifices and live within a society, as they are forced to build their own from the survivors who keep washing up on their island.

The characters are developed through dialogue, monologue and action. Ample back story is provided through memories and inner conflict. Action is used to illustrate the morals and values of the characters in a world suddenly void of societal structure. Both protagonists are dynamic with strong character arcs brought on through the need for survival. Readers get a chance to see inside the mind of Mau and Daphne and are brought closer to them as the story progresses.

While there is a touch of magic and other-worldly creatures (it is Terry Pratchett), like tree climbing octopi and death himself, this story is driven by the characters. It explores the complex interdependence between the individual and a society which is full of customs and traditions. It exposes the need for science and religion, and what it means to shape one’s own belief. It even presents the traditional role of gender in a dystopian landscape haunted by the remnants of a nation that no longer exists.  

While the story takes a moment to start, once it gets going, it’s hard to put the book down. The serious issues and themes are deftly lightened by Pratchett’s use of dialogue and misunderstanding. Mau and Daphne, and the later newcomers, are forced to overcome cultural and language barriers that present entertaining situations to the readers. In the end, there is a great discovery on the island. This discovery shows our characters just how easily a new perspective can turn their worldviews upside down. This book is very much recommended as a serious, yet entertaining, read over the holiday season.  

“To assume that Viking men were ranked above women is to impose modern values on the past, which would be misleading,” cautions Marianne Moen. She has been studying how women’s status and power is expressed through Viking burial findings. Her master’s thesis The Gendered Landscape argues that viking gender roles may have been more complex than we assume.
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THANK YOU

WHAT I’VE BEEN TRYING TO SAY FOR YEARS

anonymous asked:

Hello, sorry to bother you. I was wondering if you knew any good books/sources to read about Artemis/Diana, primarily her role as a protective and/or vengeful goddess? Such as the story of her and Actaeon, or Arethusa, or Bouphagos. I hope this makes sense and is not too much of a bother.

hi there - that makes perfect sense and it’s not a bother at all! i really enjoy doing this kind of bibliographic research because i’m a giant loser, so for real, if anyone is after similar book recs i am absolutely happy to oblige.

okay now so before i start this is really a general point for all my followers, not this anon in particular, but if you’re looking for info on artemis or female deities in general, please be really really careful about your sources!!!! there are a LOT of books out there about moon goddesses and associated religious practices that should absolutely not be used as any kind of scholarly/academic resource, mostly dating from the seventies and eighties and mostly written by people with a religious investment in the concept of powerful female nature deities. in saying that i’m not knocking wicca or neo-paganism or reconstructionism, you do you, but there is a very big difference between peer-reviewed scholarly research and “the earth mother told me in a dream”. most of these books are misleading, poorly-researched, or just willfully wrong. (yes, i am still bitter about that virgin post.) you can usually spot these books a mile off and there are plenty of reliable sources out there, but please do take care to evaluate your sources on topics like this with a critical eye!!! (the same STRONGLY applies to websites - i would take any information from websites other than maybe theoi with a sack of salt when it comes to stuff like this)  

saying that, artemis is not a big speciality of mine but i took a look through our catalogue and these are the least earth-mother-y/most reliable-looking ones i could find. obviously if i’ve messed up or if anyone knows any better resources, please let me know!

that’s unfortunately all i could really find, but i hope that’s a start! and again, i am always happy to dig through catalogues for you guys, i 1005 unironically love it, so if anyone has a topic they’d like a hand researching please do hit me up