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Indigenous Women and Feminism
Can the specific concerns of Indigenous women be addressed by mainstream feminism? Indigenous Women and Feminism proposes that a dynamic new line of inquiry – Indigenous feminism – is necessary to truly engage with the crucial issues of cultural identity, nationalism, and decolonization particular to Indigenous contexts. Through the lenses of politics, activism, and culture, this wide-ranging collection crosses disciplinary, national, academic, and activist boundaries to explore deeply the unique political and social positions of Indigenous women. A vital and sophisticated discussion, these timely essays will change the way we think about modern feminism and Indigenous women.
Contact Zones
Explores the contributions of black diasporic filmmakers and thinkers to contemporary artistic and theoretical discourses. Created at the crossroads of slavery, migration, and exile, and comprising a global population, the black diaspora is a diverse space of varied histories, experiences, and goals. Likewise, black diasporic film tends to focus on the complexities of transnational identity, which oscillates between similarity and difference and resists easy categorization. In Contact Zones author Sheila J. Petty addresses a range of filmmakers, theorists, and issues in black diasporic cinema, highlighting their ongoing influences on contemporary artistic and theoretical discourses. Petty ex...
North American Women Artists of the Twentieth Century
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Sights of Resistance
CD-ROM contains: Chapters from text -- Glossary.
Odysseys Home
These tensions are revealed in the literature that Clarke argues to be - paradoxically - uniquely Canadian and proudly apart from a mainstream national identity."--BOOK JACKET.
Adelaide Hoodless
Adelaide Hunter Hoodless, lifelong crusader for the recognition of the domestic sciences (cooking, sewing, childcare and housework) and an early proponent of home economics in Canada, was considered one of the radical new woman of the late nineteenth and early twentieth centuries. She helped turn the Canadian YWCA into a national organization. She founded the Women’s Institute, assisted in the founding of the Victorian Order of Nurses and represented Canada on numerous International Councils of Women, as well as establishing the first school for the training of domestic science teachers in Canada and putting together the first Canadian domestic science textbook, popularly known as the Little Red Book.
Crafting Identity
By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada.
Max Ernst and Alchemy
Surrealist artist Max Ernst defined collage as the "alchemy of the visual image." Students of his work have often dismissed this comment as simply a metaphor for the transformative power of using found images in a new context. Taking a wholly different perspective on Ernst and alchemy, however, M. E. Warlick persuasively demonstrates that the artist had a profound and abiding interest in alchemical philosophy and often used alchemical symbolism in works created throughout his career. A revival of interest in alchemy swept the artistic, psychoanalytic, historical, and scientific circles of the late nineteenth and early twentieth centuries, and Warlick sets Ernst's work squarely within this mo...
