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We are delighted to present the inaugural Frontiers in Psychiatry 'Women in Psychiatry” series of article collections. At present, less than 30% of researchers worldwide are women. Long-standing biases and gender stereotypes are discouraging girls and women away from science-related fields, and STEM research in particular. Science and gender equality are, however, essential to ensure sustainable development as highlighted by UNESCO. In order to change traditional mindsets, gender equality must be promoted, stereotypes defeated, and girls and women should be encouraged to pursue STEM careers. Therefore, Frontiers in Psychiatry is proud to offer this platform to promote the work of women scientists, across all fields of Psychiatry. The work presented here highlights the diversity of research performed across the entire breadth of Psychiatry research and presents advances in theory, experiment, and methodology with applications to compelling problems. Please note: to be considered for this collection, the first or last author should be a researcher who identifies as a woman.
Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation traces—through the visual and literary record—the reception and use of the tenth-century literary romance through the seventeenth century. Ise monogatari (The Ise Stories) takes shape in a salon of politically disenfranchised courtiers, then transforms later in the Heian period (794-1185) into a key subtext for autobiographical writings by female aristocrats. In the twelfth century it is turned into an esoteric religious text, while in the fourteenth it is used as cultural capital in the struggles within the imperial household. Mostow further examines the development of the standardized iconographies of the Rinpa school and the printed Saga-bon edition, exploring what these tell us about how the Ise was being read and why. The study ends with an Epilogue that briefly surveys the uses Ise was put to throughout the Edo period and into the modern day.
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Une présentation de l'oeuvre de cet artiste, considéré comme l'un des chefs de file du néopop japonais, créateur en 1993 de Mr Dob qui devient sa signature. Décliné en peintures, sculptures gonflables, T-shirts ou montres, ce personnage mi-drolatique mi-monstrueux connaît au Japon une notoriété sans précédent dans le monde de l'art contemporain.
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