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6 pages
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co-written with Jowan A. Mohammed
ed. with Jowan A. Mohammed, will be published in full OA with De Gruyter in 2023
2019
OF DISSERTATION REPRESSION AND WOMEN’S DISSENT: GENDER AND PROTESTS Why do women protest? Why do women protest “as women”? Why do some women participate in protests but not others? In the wake of the Women’s March of 2017, perhaps the largest single day protest event in history, these questions are particularly timely and deserve scholarly attention. One important but understudied and undertheorized motivation for women’s protests is state sanctioned violence, particularly repression. This dissertation explicitly theorizes about how state perpetration of violence, particularly state use of repression, both motivates and shapes women’s protests on a global scale. In this dissertation, I argue that one key motivation for women’s protest is repression by the state, and I theorize that women will protest more frequently when the state uses repression. Repression negatively impacts members of the population, particularly relatives, friends, and communities of those targeted by the state,...
Since the end of 2010, when a wave of mass protests and uprisings swept across several Arab countries, there has been unprecedented media attention on Arab women and their role in regional political transformations. Yet, this large body of commentary and speculation has tended towards dichotomous positions, representing women either as the heroines of social media and street protests or as the victims of violent and conservative backlashes. A smaller number of scholars have addressed the gendered dimensions of the political and socio-economic processes unfolding since 2011, including the revolutionary struggles, counter-revolutionary backlashes, street protests, armed uprisings and civil war. They have highlighted the complex and varied picture emerging when applying a gendered lens to political transformations across the Middle East and North Africa (MENA) region (Al-Ali 2014; Hafez 2014; Kandiyoti 2013; Khalil 2014; Pratt 2013; Salime 2012; Skalli, 2013).
European Romantic Review, 2021
The Women's March on Washington in 2017, organized in protest of the 2016 election of the American president Donald Trump, spawned a worldwide movement. Two years later, women in more than thirty countries participated in marches designed to draw attention to violence against women and economic austerities that disproportionately affect women's lives. In ever-increasing numbers, worldwide, women began to utilize all the resources at their command-political, technological, and cultural-to highlight inequities of gender, race, and class as well as global concerns such as the environment, climate change, immigration, etc. Women artists, from novelists and poets to filmmakers and songwriters/performers, devoted (and continue to devote) their talents to expressions of activism, protest, and calls for change. In many countries, prominent exposés of and legal actions against once-important male cultural icons resulted in prison sentences, dismissal from duty, public shaming, and calls for change in the various professions that allowed such behavior to occur without check-indeed, often with enablers and systemic support. The #MeToo movement bears witness to a growing determination to speak out about and demand reparation for wrongs too often endured, tolerated, or even celebrated in the past. All of this activity coincided with commemorations of an important milestone in the fight for women's equality in America, the 100th anniversary of the passage of the nineteenth amendment, which guarantees women the right to vote; therefore, it is no surprise that renewed commitment to the rights of women has been evident in the popular culture of the past four years. Two 2018 films based on the career of Supreme Court Justice Ruth Bader Ginsburg-a documentary entitled RBG and a feature-length dramatic recreation of her argument before the Supreme Court as a young lawyer entitled On the Basis of Sex-were particularly notable. And, significantly, both works solidly situated Ginsburg in the line of succession beginning with women of the Romantic era who were the first to demand social and legal reform. As we saw in both these films, Ginsburg ended her plea before the bench in the 1973 landmark sex discrimination case Frontiero v. Richardson with the words of nineteenth-century feminist Sarah Moore Grimké: "I ask no favor for my sex; all I ask of our brethren is that they take their feet off our necks" (Grimké 10). Recently, we have entered a new phase of worldwide protest, one centered more on racial injustice than on the specific concerns of women. In the Spring of 2020, due to the worldwide coronavirus pandemic, the people of America and much of the world
Gender & Development, 2016
WSQ: Women's Studies Quarterly, 2018
Introduction to a special issue of WSQ: Women's Studies Quarterly, on the theme of "PROTEST".
A chapter in the book "Journalism, Gender and Power," edited by C. Carter, L. Steiner and S. Allan, published by Routledge/Taylor & Francis. , 2019
Maimonides Review of Philosophy and Religion, 2024
This paper delves into the concept of imitatio Bibliae—the imitation of the Bible—in the context of magical operations, specifically nigromancy. By examining a multitude of related texts with rich textual traditions across both Hebrew and non-Hebrew languages, it seeks to explore how the individual segments and the physical embodiment of the Bible were leveraged by practitioners to augment the efficacy of their rituals. At the heart of the discourse is the proposition that practitioners leveraged the intrinsic sacredness of the biblical text and the spiritual stature of characters like King Solomon to imbue their operations with a sense of sanctity and validity. The material form of the holy text was regarded as a potent instrument, with its sanctified presence and material existence providing the rituals with additional validation and potency. The analysis will also highlight the use of oath-taking within magical rituals to summon and bind demons, reflecting a unique facet of imitatio Bibliae. By offering these insights, this article will provide a nuanced understanding of the interplay between magical practices and religious texts, ultimately broadening the traditional boundaries of magical and religious discourse.
Prilozi, 2009
Introduction. Blood group antigens as integrated parts of the red cell membrane have many essential functions for the cell as well as for the organism, but they are recognized as unique antigens for the purpose of safe blood transfusion. Especially in the case of those with great clinical importance because of their involvement in haemolytic transfusion reactions and hemolytic disease of the newborn, it is very important that they be correctly, and some of them routinely, typed in blood donors as well as in patients. Aim. Evaluation of Rh and Kell blood group antigen frequencies in blood donors as well as the incidence of alloimmunization in transfused patients in the Macedonian population. The need for routine typing of certain blood group antigens in addition to ABO and RhD was also evaluated. Material and method. We evaluated data from 1600 ABO/Rh and Kell typed blood donors (from January 2003 to May 2008), as well as the data from pretransfusion testing (ABO/RhD blood typing, irregular red blood cell antibody screening and compatibility testing) and antibody identification in the period from January 2005 to November 2008. All tests were performed by the DiaMed micro tube gel system. Results. The frequencies of ABO antigens were as follows: A (39.7%), O (38%), B (14.1%), AB (7.4%). The frequencies of Rh antigens were as follows: D pos. (84.2%), D neg. (15.8%), C (58.3%), c (82.4%), E (21.3%), e (97.1%). We found the following frequencies of Kell phenotypes: K+ k-(0.25%), K+ k+ (6.18%), and K-k+ (93.6%) with the total frequency of K antigen of 6.4%. Antibody screening and/or cross-match were positive in the sera from 150 transfused patients. In 75 (50%) sera the following 81 antibodies were identified: anti-K (26),-E (25),-e (1),-C (4),-c (6),-C w (2),-k (1),-Fy a (3),-Fy b (1),-Jk a (3),-Lu b (1),-Le b (2),-Le a (1),-M (4),-P1 (1). The most frequent alloantibody was anti-K with 32%, and anti-E with 30.8% of all identified antibodies. Markovska-Bojadzieva T., Blagoevska M. et al.
Certamen X. Előadások a Magyar Tudomány Napján az Erdélyi Múzeum-Egyesület I. Szakosztályában. Szerk. Egyed Emese, Pakó László, Weisz Attila, 2023
This study focuses on a wall painting triptych painted in tromp l’oeil on the eastern wall of the chapel in the so-called “Tower of Mary” in Mediaș, once serving as the decoration of the medieval altar. In the central panel of the triptych, the figure of God the Father can be seen, holding the inert body of Christ in front of him by his chest, flanked by Saint John the Baptist on the right wing and a fragmentary figure on the left. After a brief presentation of the wall painting ensemble, in the first part of the paper I discuss the compositional characteristics and analogies of the Notgottes representation in the central panel. Dating the wall painting ensemble to the end of the fifteenth century, Dana Jenei traces the composition back to an engraving of the same theme by Master E.S. (Lehrs 186, c. 1450-1460). Proposing the two panels from the church of the Virgin Mary in Gdańsk representing the Notgottes as closer analogies, I argue that the composition in Mediaș was probably inspired by an earlier model than the engraving, which would also better correspond to a dating of the wall paintings to the mid-fifteenth century, suggested by the year 1465 carved into the painted surface under the left wing of the triptych. In the second part of the paper, based on an examination of surviving details and a consideration of compositional analogies, I revise previous hypothetical reconstructions of the fragmentary figure on the left wing of the triptych and aim to more precisely determine her probable iconography. While the suggestion formulated in earlier literature that the Virgin Mary had been depicted here is highly plausible, it is interesting to note that in two representations of the related theme of the Throne of Mercy, it is Mary holding the child Jesus who appears as a pendant to Saint John the Baptist with the Agnus Dei. The pairing of the Madonna with images of the Throne of Mercy and the Notgottes, as well as with the figure of Saint John the Baptist holding his Christological attribute, were in themselves also recurrent patterns in late medieval art. It is thus plausible that, in line with contemporary iconographic trends, in Mediaș, too, the figure of the Virgin Mary holding the child Christ was represented on the left wing of the illusionistic triptych, enriching the overall Christological significance of the composition.
Recht der Werkelijkheid
AMITESH PUBLISHER & COMPANY, 2024
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ARTIKEL KRITIK TERHADAP SENI GRAFIS DALAM KARYA DECIDING TO BECOME A PRINTMAKER IS A CHOICE OLEH NURINA SUSANTI , 2024
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