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Questioning gender roles

it is certainly the case that unlike their British counterparts French princes and princesses not only ‘live happily ever after’, but also ‘have many children’ (ils vécurent heureux et eurent beaucoup d’enfants). The influence of this powerful ideology of motherhood should not be underestimated. Is there, one can ask, any alternative for French women to the historically accepted and conventional function of women as mothers, considering the importance of the indirect propaganda in this regard (be it political or religious), and

in Coline Serreau
The moral life and the state

dialogue in the public sphere about that very 79 80 Julia Margaret Cameron’s ‘fancy subjects’ subject, Weaver argued Cameron’s private devotions were sufficient to explain the impetus for her religious imagery. In a circular fashion, Weaver used her religious photographs to confirm that very devotion. Because Cameron called photography a ‘divine art’ and urged her husband and children to believe in God, Weaver presumed that Cameron obediently and reflexively also complied with what he called ‘the accepted role for women Anglo-Catholics’ by articulating a one

in Julia Margaret Cameron’s ‘fancy subjects’
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Coline Serreau and politics (1972–96)

change, while only one seems convinced – even if she sounds as if she were trying to convince herself – that women should accept their lot which is to have and raise children. Be they farmers, working class, middle class, porn actress, anorexic, caretaker or retired pastor, they all illustrate a form of oppression and repression, either economic, sexual, physical or religious. Some can name and identify it while others would probably be surprised if told that their claims are the same as the MLF’s. None is a self-confessed feminist

in Coline Serreau

-generated vision of the effects of a nuclear holocaust in a potential new war between the two Koreas.6 In the Indian subcontinent artists have confronted civil and religious violence and potential conflict, including nuclear conflict, between India and Pakistan, an example being the works of Salima Hashmi and Nalini Malani, discussed in Chapter  5. Japanese artists have been in the forefront of those who have produced images about war and conflict. An example is Yoko Ono, who experienced the firebombing of Tokyo and was deeply affected by the dropping of the atomic bombs on

in Art and human rights
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Gender Artists from the West should constantly thank God that they were spared the experience that artists from former socialist countries had. — Natalia LL, 2015 The issue of gender, not to mention feminism, in Central, Eastern and Southeastern Europe remains complicated and fraught. Prior to 1989, the ‘woman question’ was largely considered to have been resolved throughout the region on an official level, with gender equality a stated priority of socialist governments.1 Across the East, women benefited from equal access to jobs, childcare and often equal pay

in Performance art in Eastern Europe since 1960
Representations of Marseille

Marseille, only brought together by the photo shoot or carnival period. Their interaction is extra-ordinary, not everyday, and in contrast to what the book’s front cover may suggest, Marseille is no melting-pot: it is divided along distinctly ethnic lines. Given the frequency with which images of religions and religious practices appear throughout the book, one might expect them to afford more occasions to show different ethnic groups in Marseille as unified. Jewish, Catholic and Muslim believers are all pictured within its pages: all three religions whose followers are

in Representing ethnicity in contemporary French visual culture
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sculpture of Phidias), and the composition formal and symmetrical, ‘like old pictures’. As recorded in the copyright registers of 1865, over the course of several months, Cameron clearly experimented with compositions using women and children, posing them in arrangements that correspond to familiar subjects in religious art, including the Introduction Mother and Child, Mary Madonna, and the infant pietà. To each of these photographs Cameron assigned a different narrative title, including: Light and Love (Cox 127), Devotion (Cox 128), The Day-Spring (Cox 129), Prayer and

in Julia Margaret Cameron’s ‘fancy subjects’

environments were often worlds apart from the religious, civic. and private domestic settings for which the exhibited stained glass panels were intended. Philadelphia, 1876: Centennial Exhibition Following the earlier Paris Exposition of 1867, the Philadelphia Centennial Exhibition of 1876 appeared as ‘a small city of buildings within a planned and landscaped site’,123 with exhibits housed in a variety of buildings and pavilions across Fairmount Park, Philadelphia, including the first ever Woman’s Building, devoted to exhibits made by women.124 The majority of stained glass

in Windows for the world

all probe colonial and postcolonial archives of history, seeking to uncover ‘hidden histories’. As Hall has remarked, in the context of decolonisation and postcoloniality ‘the importance of the act of imaginative rediscovery’ cannot be overestimated, nor should one overlook its ties to a political desire to see marginalised communities or oppressed people – the enslaved and colonised, women, LGBTQ communities, etc. – rehabilitated and recognised. Yet, it is vital to bear in mind that this ‘archival’ work does not entail a rediscovery, but a production of identity

in Migration into art
Parameters of Jewish identity

effectively functions as an introduction to Jewish religious practice on that day and shows Eddie unwittingly breaking many of its rules: such as drinking all the ceremonial wine the family should share and talking when he is supposed to remain silent. Comedy results too when Robert, Dov’s Orthodox brother-in-law, initiates Eddie into their strict observance of the Sabbath as his son contradicts him by switching on their television. Instead of reprimanding him, Robert is instantly transfixed by the sight of two women gyrating on screen (mentioned earlier) and declares that

in Representing ethnicity in contemporary French visual culture