Bøger om Feminism

Novellix – Stor litteratur i et lille formatDenne æske indeholder fire noveller skrevet af banebrydende kvinder, som trodsede konventioner og skubbede til grænser. Fire kvinder, der stod fast på, og levede efter en overbevisning om, at tingene skulle være anderledes – kvinder, der ikke kunne standses.De oprørte deres samtid og stod igennem kritikkens og omgivelsernes udskamning – de ville have frihed og ligestilling, for sig selv og samfundets svage; de ville have retten til at tænke, skrive og leve som de ønskede at leve. Her er fortællinger om kønsidentitet og ånds- forbindelser. Om frigørelse og den kamp, den kræver. Om undertryk- kelse, og hvad det gør ved en. De mejslede den nye kvinde frem, gav hende en krop, et blik, et intellekt – og en lyst.Æsken indeholder fire bøger:Karin Michaëlis – Arme søsterVictoria Benedictsson – Ud fra mørketErna Juel-Hansen – EnligAmalie Skram – Madam Høiers lejefolk

“Equating a work of art with a dream: symptom of the repressed.”A dream according to Freud as the ‘royal road to consciousness’, is the product of three agents: a sleeping ego, a repressed id in the unconscious and a censoring superego in the preconscious. A work of art also consists of three elements with theartist as the 'smith' of the unconscious, a definition of three components: the artist; the predicative smith; i.e., the process of construction and the unconscious.Drew analyses Coleridge’s Kublah Kahn, Bronte’s Cathy in Wuthering Heights and a feminist reconstruction of Hamlet using Freud’s psychoanalysis of dream and compares his breakdown of dream with the process of creating art. Investigating psychological links between the protagonists in literature Drew reveals an instinctual life weaving in and around the characters, offering a startling perspective into their behaviour and development, such as the interplay between Heathcliffe and CatherineEarnshaw in Wuthering Heights.Much as Freud’s biologically deterministic theory outrages feminists, it has pushed them to give thought as to what brings about gender differences. Freud is the first thinker in Western philosophy who has grappled with the question why sex differences are reflected in social inequalities. Theories of art and dream abound among art critics and the agents of the occult. Consequently, the meanings, sources and the process of creation in both fields have not found an agreement among the experts. Inspiration is put down as the origin of both. Drew suggests an ‘instinctual life’ as the dream in the text.About the author:Dr RANI DREW (Lit., Phil) has taught in universities in Singapore, China and Hungary. During 1999-2000 she was a lecturerat the University of Pécs in Hungary, where she taught theatre workshops, English literature, psychoanalysis and gender studies. Her plays 'Shakespeare & Me' and the 'The III-Act Hamlet' were performed for Shakespearean Festivals in Romania, and won prizes.The Hungarian translation of the former also won a prize. Her play 'Caliban, a sequel to Shakespeare’s The Tempest' was given areading-performance by the Blue Elephant Theatre, London and Bradford’s Burning, was rehearsed-read at Attic Theatre, Wimbledon.'Eggs for Education', a short play about "top-up" fees, was staged in Cambridge.She has published articles on Freud, women’s writing and post-colonial literature

The essays collected in Contemporary Painting in Context examine the transformation and expansion of the field of painting over the last decades in relation to the more general lines of development in contemporary culture and visuality. The contributors pose questions, such as: How do paintings present themselves to us today? How are they 'framed' experientially, institutionally, and culturally? In which way can paintings of today be said to reflect, and reflect upon, the historical transformations of culture, visuality, image production, and consumption? Is it possible to explain some of the changes and extensions of the field of painting by placing it in the wider context of cultural history or visual culture studies? The book is divided into five parts, with each pursuing a distinct line of inquiry: how to situate painting in a wider cultural context * how to rethink the question of the ontology of painting * how to define 'painting' today by taking into consideration that the disci