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Gold M: Ancient Myths and Legends
Without Men

Ancient Myths and Legends Without Men

The Case for Feminist Revolution

The Dialectic of Sex

What does power sound like? Loud? Brash? Masculine? Here's the truth: if you're a woman, a person of colour, an immigrant or queer, there's often dissonance between how you speak and how we think powerful people sound, i.e. the wealthy white men who have historically set the standard. In this witty and warm guide, speech expert Samara Bay, who has worked with the likes of Gal Gadot, Penélope Cruz and Terry Crews, as well as global leaders in business and politics, offers a new approach to asserting your power in all areas of life. Permission to Speak is packed with expert tips and easy-to-follow exercises, demonstrating that you don't have to speak like the status quo to be taken seriously.

What does power sound like? Loud? Brash? Masculine? Here's the truth: if you're a woman, a person of colour, an immigrant or queer, there's often dissonance between how you speak and how we think powerful people sound, i.e. the wealthy white men who have historically set the standard. In this witty and warm guide, speech expert Samara Bay, who has worked with the likes of Gal Gadot, Penélope Cruz and Terry Crews, as well as global leaders in business and politics, offers a new approach to asserting your power in all areas of life. Permission to Speak is packed with expert tips and easy-to-follow exercises, demonstrating that you don't have to speak like the status quo to be taken seriously.

How to Change What Power Sounds Like, Starting With You

Permission to Speak

How a Doll Remade the World

Barbieland

Feminism for a World on Fire

Radical Aesthetics-Radical Art

The artistic strategies explored in this book are essential tools in fostering emancipatory consciousness in marginalized communities. Empowering Aesthetics weaves together case studies from the post-socialist Central European region (the Czech Republic, Hungary, Poland, and Slovakia) to show how art can provide critical support to gender, sexual and racialized groups. The empowering aesthetics employed by the artists in this book are not only urgent and critical, but also vitally personal, each chapter building a clear understanding of what social equality looks like in these specific political and geographic contexts. These practices are a response to the rise of nationalism, homophobia, transphobia, and xenophobia in the region. Engaging with contemporary philosophy and feminist, queer and decolonial (art) theory (Sara Ahmed, Judith Butler, Angela Dimitrakaki, Boris Groys, Jack Halberstam, Grant Kester, Ewa Majewska, Paul B. Preciado, Legacy Russell, Madina Tlostanova, etc.), this book highlights a shift in the understanding of the artwork and aesthetic experience that is enduring rather than immediate, drawing attention to a given community. The projects discussed in this book are created with the artist and the wider community or family in mind and are created in intersubjective connection with others. This volume highlights that empowering aesthetics perform an important function in challenging these narratives while contributing to building an inclusive collective memory that emancipates systematically marginalized individuals and communities.

The artistic strategies explored in this book are essential tools in fostering emancipatory consciousness in marginalized communities. Empowering Aesthetics weaves together case studies from the post-socialist Central European region (the Czech Republic, Hungary, Poland, and Slovakia) to show how art can provide critical support to gender, sexual and racialized groups. The empowering aesthetics employed by the artists in this book are not only urgent and critical, but also vitally personal, each chapter building a clear understanding of what social equality looks like in these specific political and geographic contexts. These practices are a response to the rise of nationalism, homophobia, transphobia, and xenophobia in the region. 
 
Engaging with contemporary philosophy and feminist, queer and decolonial (art) theory (Sara Ahmed, Judith Butler, Angela Dimitrakaki, Boris Groys, Jack Halberstam, Grant Kester, Ewa Majewska, Paul B. Preciado, Legacy Russell, Madina Tlostanova, etc.), this book highlights a shift in the understanding of the artwork and aesthetic experience that is enduring rather than immediate, drawing attention to a given community. The projects discussed in this book are created with the artist and the wider community or family in mind and are created in intersubjective connection with others. This volume highlights that empowering aesthetics perform an important function in challenging these narratives while contributing to building an inclusive collective memory that emancipate systematically marginalized individuals and communities.

Contemporary Art from Post-Socialist Central Europe

Empowering Aesthetics

Rethinking Art's Histories

Psychoanalysis, Politics and the Art of French Feminism

Counterpractice

Victims, Culture and Society

Criminalising Sex Outside Marriage

Routledge Advances in Feminist Studies and Intersectionality

The book is aimed at providing an assertion of Gender Studies as a vital community in our time, united in a commitment to inquiry bringing forward an interdisciplinary set of early career researchers' accounts of their motives for engaging in Gender Studies.

Negotiating the Terms of Academic Production, Epistemology, and the Logics and Contents of Identity

Voices from Gender Studies

Patipolitics looks at what it means to enjoy the body under technocapitalism arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Patipolitics looks at what it means to enjoy the body under technocapitalism arguing that we need a new paradigm to talk about sexual enjoyment and suffering. It is not just biological life (biopolitics), nor even political death (necropolitics) that has power, but also regimes of enjoyment. In simple terms the paradoxical, ambivalent and traumatic realm of the sexual: a deadly enjoyment that demands satisfaction yet cannot be sated. This is Patipolitics, from the Latin patior- to suffer, which for psychoanalysis is also to enjoy.

The body is governed by a dizzying array of institutions: the family, social media, religion and the culture industries. These sites provide contexts for enjoying the body such as: self-image, object choice, identification, erogenous zones, taboos, codes of sexual morality, inhibitions, violence, and bodily abjection. But it is the ways in which these modalities are harnessed by apparatuses of power which makes them patipolitical.

Patipolitics examines how the body is instrumentalised, weaponised and fantasized through science, technology and capitalism. After highlighting the destructive and oppressive elements of patipolitics, the book elucidates the positive and generative dimensions to the patipolitical. The female body and its place in the masculine imaginary obscures a genuine enigma about the sexual body and power. Ultimately if patipolitics is to be affirmative as opposed to destructive we must ask what alternative future it can help us to imagine?

Patipolitics

"For the first time, with this three-volume companion, students can access the full literary and historical significance of the Aeneid in translation through a commentary that unpicks Virgil's literary techniques, structural forms and historical resonances. Written by an experienced teacher and expert on the Aeneid this is an authoritative and accessible guide to students and non-specialists in Latin literature alike. Volume 1 contains a broad contextual introduction; the commentary on Books 1-6 are in Volume 2; and the commentary to Books 7-12 are in Volume 3"--

With this three-volume companion, students can access the full literary and historical significance of the Aeneid in English through an accessible yet authoritative line-by-line commentary. Written by an experienced teacher and expert on the Aeneid, this guide unpicks Virgil's literary techniques, structural forms and historical resonances. Volume 1 gives you a broad introduction to the historical and philosophical background of the epic; to Virgil's life and works; to the central human and divine characters met in the poem; to how the epic reflects Roman society and its values; to Virgil's literary and stylistic techniques; and to the reception of the epic in later periods. This book also features maps and family trees so you can trace the travels and lineage of the characters. Plus, the general index is a vital reference tool. It can be used with Volumes 2 and 3, or indeed any edition of the Aeneid in Latin or English, as entries are pegged to line numbers. Volumes 2 and 3 present a line-by-line commentary on the poem, with tables and box features illustrating key narrative arcs and structural patterns.

Introduction and Indices

A Companion to the Aeneid in Translation: Volume 1

Women and Psychology

Linda Burnett offers a genuinely new perspective on motherhood, arguing that most feminist scholarship is unduly reluctant to acknowledge the role of biological and material factors involved. The importance of embodiment and affect in recent critical work makes this a timely intervention into research on motherhood which will be of interest to a range of scholars and students.

Linda Burnett offers a genuinely new perspective on motherhood, arguing that most feminist scholarship is unduly reluctant to acknowledge the role of biological and material factors involved. The importance of embodiment and affect in recent critical work makes this a timely intervention into research on motherhood which will be of interest to a range of scholars and students.

Maternal Subjectivities and Embodied Experiences

The Neurology of Motherhood

BFI Film Classics

Actor-turned-writer/director Barbara Loden's only feature film, Wanda (1970), tells the story of an alienated working-class woman, Wanda Goronski (played by Loden), who abandons her life as a coal miner's wife and mother, electing instead to drift. Bracing in its realist texture and proto-feminist in its sensibility, it received critical acclaim upon release, winning the Critics' Prize at the Venice Film Festival in 1970. Today, Wanda is considered one of the most notable films made by a woman director and a core work of American independent cinema. Elena Gorfinkel's study of this singular film traces Loden's creative process and unconventional approach to filmmaking. Drawing on archival sources, including scripts, interviews, production records, oral history, and previously unseen ephemera, she examines the film's de-dramatised aesthetic, one that rebukes the artifice and "slickness" of Hollywood. Gorfinkel considers Loden's craft in her framing of cinematic time, manipulation of gesture, voice, and posture, narrative ellipsis, and in her use of location and non-professional actors. Providing an account of Wanda's exhibition and reception in the 1970s and after, she traces the film's feminist legacies, and its lasting influence on contemporary filmmakers, artists and writers.

Actor-turned-writer/director Barbara Loden's only feature film, Wanda (1970), tells the story of an alienated working-class woman, Wanda Goronski (played by Loden), who abandons her life as a coal miner’s wife and mother, electing instead to drift. Bracing in its realist texture and proto-feminist in its sensibility, it received critical acclaim upon release, winning the Critics’ Prize at the Venice Film Festival in 1970. Today, Wanda is considered one of the most notable films made by a woman director and a core work of American independent cinema. Elena Gorfinkel's study of this singular film traces Loden's creative process and unconventional approach to filmmaking. Drawing on archival sources, including scripts, interviews, production records, oral history, and previously unseen ephemera, she examines the film’s de-dramatised aesthetic, one that rebukes the artifice and “slickness” of Hollywood. Gorfinkel considers Loden’s craft in her framing of cinematic time, manipulation of gesture, voice, and posture, narrative ellipsis, and in her use of location and non-professional actors. Providing an account of Wanda's exhibition and reception in the 1970s and after, she traces the film's feminist legacies, and its lasting influence on contemporary filmmakers, artists and writers.

Wanda

Ancient Myths and Legends Without Men

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