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Parlour: the First Five Years
143 ISSN: 1755-068 www.field-journal.org vol.7 (1) Parlour: The First Five Years Naomi Stead, Gill Matthewson, Justine Clark, and Karen Burns Parlour: women, equity, architecture is a group whose name derives from a rather subversive feminist take on the 'parlour' as the room in a house traditionally used for receiving and conversing with visitors. In its first five years, Parlour has grown from a scholarly research project into an activist group with an international reach, but a localised approach to working through issues of equity and diversity in architecture. This paper is a lightly edited version of a keynote 'lecture' given jointly by four of the key members of the Parlour collective. 144 www.field-journal.org vol.7 (1) Some readers may be familiar with the work of the activist group Parlour: 1 Please note that the order of women, equity, architecture.1 Some might even know the origins of our authors’ names are listed by the name: a rather subversive feminist take on the ‘parlour’ as the room in a order in which we spoke – as house traditionally used for receiving and conversing with visitors. The opposed to a hierarchical account of importance or contribution. name itself derives from the French parler – to speak – hence, a space to speak. But even if you knew these things, you might not realize that what has become an internationally recognized activist organization, working towards greater gender equity in the architecture profession, began its existence as a scholarly research project. This paper is a lightly edited version of a keynote ‘lecture’ given jointly by four of the key members of the Parlour collective. -
Mapping the (Invisible) Salaried Woman Architect: the Australian Parlour Research Project Karen Burns, Justine Clark and Julie Willis
143 Review Article Mapping the (Invisible) Salaried Woman Architect: The Australian Parlour Research Project Karen Burns, Justine Clark and Julie Willis The (invisible) salaried woman architect: The architects in the service of bureaucracies. This Parlour project special journal issue retrieves a domain of ‘invis- During the 1970s, feminist historians highlighted ible’ architects, and our paper offers a distinctive ‘women’s invisibility’ in written histories and argued focus on the topic by exploring the gendering of the that these absences exposed structural biases in salaried architect. We begin by drawing attention to history writing.1 Through mainstream history and its the over-representation of women as salaried archi- privileging of particular topics and institutional struc- tects in both the historical record and contemporary tures, history’s very objects of inquiry threatened practice. Moving beyond this demographic outline, to perpetuate women’s invisibility. For example, the paper studies women architects’ everyday work although women had been political participants in the office.5 Focusing the gaze of historians and throughout history, they had organised and oper- theorists on the office rather than the building site ated in informal ways and their practices were provides an important shift of attention that chal- marginalised within the historical record.2 For some lenges them to conceptualise the production of historians, it was not simply a task of adding women buildings within the organisation of the architectural in and -
The Heroine's Journey
In the footsteps of the heroine The journey to Integral Feminism Figure 1: ‘Queen of the Night’, © Trustees of the British Museum A thesis submitted for the degree of Doctorate of Philosophy at the University of Western Sydney 2008 Sarah Nicholson To the women, known and unknown, who have forged the way, and those still to come. Acknowledgements I would like to thank: My first supervisors, Anne Marshall and Susan Murphy, and my co-supervisor Brenda Dobia, for sharing their expertise, critique and inspiration. The Writing and Society group at UWS for their support and assistance, particularly in funding editorial assistance. The School of Social Ecology and the School of Humanities for providing me with Student Project funding to make invaluable contacts, conduct crucial research and attend conferences overseas. The Visiting Scholar scheme of the Centre for Feminist Research, York University, Toronto for hosting me as a visiting postgraduate scholar. The international Integral community – particularly the inspirational Willow Pearson and fellow traveller Vanessa Fisher, for their inspiration, support and encouragement. The Sydney Integral group – particularly Simon Mundy, Tim Mansfield, Vivian Baruch, Helen Titchen-Beeth, and Luke Fullagar - who read and insightfully commented on chapters of this thesis. My parents, Eli, my aunty Joy, my grandparents, and my extended family, for offering me unfailing love, support and assistance. My friends, for supporting me being me, by being you. Rachel Hammond, Martin Robertson, Sarah Roberts, and Sarah Harmelink, Cartia Wollen and Edward Birt, for their assistance with child care in the final stages of this thesis. Particular thanks to Allison Salmon, who is always there when, and indeed before I realise, I need her. -
WORKAROUND WOMEN DESIGN ACTION July 25 — August 11 2018 RMIT Design Hub LIVE BROADCAST PROGRAM INTRODUCTION
Front Cover WORKAROUND WOMEN DESIGN ACTION July 25 — August 11 2018 RMIT Design Hub LIVE BROADCAST PROGRAM INTRODUCTION EPISODE 01 SUEANNE WARE WORKAROUND engages with a movement of women FERAL ARCHITECTURES focused on advocacy and activism within an expanded field Wednesday July 25, 1PM–3:30PM of architecture. Each of these practitioners works towards positive change in the built environment and its surrounding EPISODE 02 HELEN NORRIE cultures. Motivated by the increasing urgency of the chal- REGIONAL ROUND UP: BRIGHT IDEAS lenges we all now face — environmental, social and profes- FROM BEYOND THE BIG CITIES sional — these women work around existing conventions, Thursday July 26, 1PM–3:30PM systems and structures. EPISODE 03 SIMONA CASTRICUM Such practitioners share some common characteristics. WHAT IF SAFETY They demonstrate agency, strategic opportunism and val- BECOMES PERMANENT? ues-based leadership. Also, they can be defined by what they Friday July 27, 10AM–6:15PM are not — they are not conventional practitioners, and they EPISODE 04 PIA EDNIE-BROWN are (generally) not producing objects or working within the THE JANE APPROACH: traditional structure of the design office. These practitioners ONOMATOPOEIA-PLAY-DAY are agile and each has developed workarounds to critically Saturday July 28, 12PM–5PM negotiate and rethink systemic limitations; circumventing entrenched professional hierarchies; managing working life EPISODE 05 OOPLA and family demands, and extending the bounds of architec- SENSORY CITY ture and design. Sunday July 29, 12:30PM–4PM Within the diverse practices of these women, gender and EPISODE 06 GUEST, RIGGS feminist politics play varying roles: sometimes a direct and HASTY WORK explicit driver, sometimes an implicit and understated con- Tuesday July 31, 10:30AM–4PM text. -
Architectural Historiography and Fourth Wave Feminism
$UFKLWHFWXUDO Lange, T and Pérez-Moreno, LC. 2020. Architectural Historiography and Fourth Wave Feminism. Architectural Histories, 8(1): 26, +LVWRULHV pp. 1–10. DOI: https://doi.org/10.5334/ah.563 EDITORIAL Architectural Historiography and Fourth Wave Feminism Torsten Lange* and Lucía C. Pérez-Moreno† Over the course of the last decade, women from all over the world and from different social and cultural backgrounds continued to strive for equal rights in the face of discrimination, sexism, and misogyny. Uti- lizing new tools and strategies for communication, this ‘fourth wave’ of feminist thinking and activism is characterized by its commitment to a ‘diversity of purpose’ that recognises intersectionality as a key issue of our time and questions established sex/gender systems and gender as a binary category. This Spe- cial Collection explores the impact of current feminist discourse on architectural historiography. It offers critical debate on the legacy of second and third wave feminism, and asks for the ongoing relevance of the concerns and methodologies. It also highlights the potential of new strategies for documenting and researching the work of women architects, investigating the possibilities of digital tools and networked knowledge. Moreover, the collection considers histories of feminist architectural writing in relation to non-canonical geographies and takes a broader view to include LGBTIQ+ perspectives on the built envi- ronment. It offers diverse explorations of these key issues and presents necessary reflections to widen feminist enquiries in architectural discourse. Introduction of established sex/gender systems, heterosexism, and Feminism is back. Indeed, we might argue that it was binary gender norms. -
Between Delft and Stockholm
http://www.diva-portal.org This is the published version of a paper published in Footprint. Citation for the original published paper (version of record): Burroughs, B., Grillner, K., Frichot, H., Bonnevier, K. (2017) Between Delft and Stockholm. Footprint, 11(2): 119-128 https://doi.org/10.7480/footprint.11.2.1905 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-220541 119 Interview Between Delft and Stockholm Brady Burroughs (BB), Katarina Bonnevier (KB), Katja Grillner (KG), Hélène Frichot (HF) Initial questions by Dirk van den Heuvel and Robert Gorny (FP) FP: With our trans/queer issue of Footprint we also draw distinct lines back to other key locations aim to break a spell that seems quite tenacious in and situations in which we have been embedded architecture, namely the highly male-dominated, and that have strongly contributed to our individual gender-biased and heteronormative framework of passion, courage and curiosity for pushing bounda- our professional practices, language and thinking. ries and shifting perspectives. These involve friends, Luckily, we witness an increasing effort to break with teachers and forerunners such as Jennifer Bloomer, old hegemonies that stem from binary oppositions Jane Rendell, Alberto Pérèz-Gomez, Karen Burns, and universalisations that overcode difference. and Julieanna Preston.1 This is important: each of us has brought to the KTH ‘milieu’ our own specific As we see it, you managed to develop a most inter- poetic modes and intriguing queries. -
Sounding Subjectivity: Music, Gender, and Intimacy
Sounding Subjectivity: Music, Gender, and Intimacy DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lindsay Marie Bernhagen Graduate Program in Comparative Studies The Ohio State University 2013 Dissertation Committee: Professor Barry Shank, Advisor Professor Mary E. Thomas Professor Maurice E. Stevens Copyright by Lindsay Marie Bernhagen 2013 Abstract This dissertation centers on the role of musical experience in the production and maintenance of intimate, interpersonal relationships. Music acquires meaning in its ability to enable and amplify personal relationships among participants who share musical experience—not only through the semiotic decoding of lyrics and musical sounds that characterizes much music scholarship. Because there is scant language available for describing musical experience without reference to non-sonic elements such as lyrics, communal identity, or performers’ personae, this research relies on textual and ethnographic methods to examine how human experiences of musical sound are understood via racialized and gendered discourses of embodiment, intimacy, pleasure, and danger. Specifically, this project consists of textual analyses of music censorship discourse and ethnographic analyses of female musicians and listeners who seek out shared musical experiences in explicitly gendered contexts including a feminist punk movement, a girls’ rock music camp, and a long-standing women’s music festival. The introductory chapter offers an overview of the scholarship and theory that has influenced this project and sets up the theoretical framework I have developed through my own research. To establish the stakes of this project, the second chapter focuses on discourses of musical danger to reveal ii a persistent and anxious fascination with music’s relationship to the body and intimacy in the American imagination. -
Pitching the Feminist Voice: a Critique of Contemporary Consumer Feminism
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-3-2017 10:30 AM Pitching the Feminist Voice: A Critique of Contemporary Consumer Feminism Kate Hoad-Reddick The University of Western Ontario Supervisor Dr. Romayne Smith Fullerton The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Kate Hoad-Reddick 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Hoad-Reddick, Kate, "Pitching the Feminist Voice: A Critique of Contemporary Consumer Feminism" (2017). Electronic Thesis and Dissertation Repository. 5093. https://ir.lib.uwo.ca/etd/5093 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation’s object of study is the contemporary trend of femvertising, where seemingly pro-women sentiments are used to sell products. I argue that this commodified version of feminism is highly curated, superficial, and docile, but also popular with advertisers and consumers alike. The core question at the centre of this research is how commercial feminism—epitomized by the trend of femvertising—influences the feminist discursive field. Initially, I situate femvertising within the wider trend of consumer feminism and consider the implications of a marketplace that speaks the language of feminism. -
Menstruation in Jewish Life and Law Wasserfall: Women and Water Page Iii
Wasserfall: Women and Water page i Women and Water Wasserfall: Women and Water page ii BRANDEIS SERIES ON JEWISH WOMEN Shulamit Reinharz, General Editor Joyce Antler, Associate Editor Sylvia Barack Fishman, Associate Editor Susan Kahn, Associate Editor The Hadassah Research Institute on Jewish Women, established at Brandeis Uni- versity in 1997 by Hadassah, the Women’s Zionist Organization of America, Inc., supports interdisciplinary basic and applied research as well as cultural projects re- lated to Jewish women around the world. Under the auspices of the Institute, the Brandeis series on Jewish Women publishes a wide range of books by and about Jewish women in diverse contexts and time periods. Marjorie Agosín, Uncertain Travelers: Conversations with Jewish Women Immigrants to America Rahel R. Wasserfall, ed., Women and Water: Menstruation in Jewish Life and Law Wasserfall: Women and Water page iii Women and WateR Menstruation in Jewish Life and Law Edited by Rahel R. Wasserfall Brandeis University Press Published by University Press of New England Hanover and London Wasserfall: Women and Water page iv Brandeis University Press Published by University Press of New England, Hanover, NH 03755 © 1999 by Brandeis University Press All rights reserved Printed in the United States of America 54321 cip data appear at the end of the book Illustrations are from Rabbi David Miller, The Secret of the Jew: His Life— His Family, © 1930 by Rabbi David Miller and published by the author. This book was published with the help of the Lucius N. Littauer Foundation, Inc. Wasserfall: Women and Water page v Contents Acknowledgments vii rahel wasserfall Introduction: Menstrual Blood into Jewish Blood 1 I. -
Karen Burns Ex Libris
KAREN BURNS EX LIBRIS: Archaeologies of Feminism, Architecture and Deconstruction This paper explores the force of writing in ar- chitectural criticism, theory and history.Writing often plays the silent other to architecture, being continuously assumed rather than examined. Using the conceit of my library as an archive and repository for architectural and personal mem- ory, this essay in part revisits a critical moment in the late 1980s: the literary turn in architectur- al theory. Interrogating later anthologies des- cribing the transaction between writing, architecture and deconstruction (or post-struc- turalism), I note that the radical writing practices of the late 1980s have been largely excluded and marginalised in later collections of primary texts from the anthologised period. Curiously, when radical writing practice did appear in later anthologies it was conflated with feminist practice. A double marginalisation re- duced the mainstream location of feminist theory and wayward writing to peripheral positions with seemingly little historical force or influence. This essay argues for attention to the business of writing as an act of theorisation. Work on and with the material of writing is a tactic and mode for producing change in the status quo of received histories and conventions of architectural criticism and writing. ISSN 1326-4826 print/ISSN 1755-0475 online ª 2010 Taylor & Francis DOI: 10.1080/13264826.2010.524706 ATR 15:3-10 EX LIBRIS ’’ [T]he philosopher reworks elements of a technique (since one must pay in order to mode of discourse which philosophy else- acquire it) which permits the ruling classes where repudiates.’’ to gain ownership of speech.’’ Michele Le Doeuff, The Philosophical Roland Barthes, ‘‘The Old Rhetoric: An Imaginary (1980) (trans. -
Leuven University Press Chapter Title: Anthologizing Post
Leuven University Press Chapter Title: Anthologizing Post-Structuralism: Architecture Écriture, Gender, and Subjectivity Chapter Author(s): Karen Burns Book Title: The Figure of Knowledge Book Subtitle: Conditioning Architectural Theory, 1960s - 1990s Book Editor(s): Sebastiaan Loosen, Rajesh Heynickx, Hilde Heynen Published by: Leuven University Press. (2020) Stable URL: https://www.jstor.org/stable/j.ctv16x2c28.16 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms This book is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND 4.0). To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/. Funding is provided by KU Leuven Fund for Fair Open Access. Leuven University Press is collaborating with JSTOR to digitize, preserve and extend access to The Figure of Knowledge This content downloaded from 128.250.28.197 on Mon, 07 Dec 2020 05:55:02 UTC All use subject to https://about.jstor.org/terms CHAPTER 13 Anthologizing Post-Structuralism: Architecture Écriture, Gender, and Subjectivity Karen Burns … the majority of writers in this quasi-generation of architectural theorists are women. Mark Wigley, Assemblage, August 27, 19951 Archives The late 1990s rush to anthologize postwar architectural theory produced theory as an archival project. -
Reading Ruskin: Architecture and Social Reform in Australia, 1889–1908
The University of New South Wales Doctor of Philosophy Degree READING RUSKIN: ARCHITECTURE AND SOCIAL REFORM IN AUSTRALIA, 1889–1908 2010 MARK DOUGLAS STILES ABSTRACT This thesis examines the reception of John Ruskin’s work in Australia between 1889 and 1908, and seeks to answer two questions: what Australians made of Ruskin’s ideas at a critical moment in their history, and what we may make of Australia a century ago with Ruskin as our guide. The period covered here spans the decades before and after the federation of the Australian colonies in 1900, and the quest for political unity forms the background to the thesis. What Ruskin’s perspective adds to this account is his search for unity in diversity, a search paralleled in Australia in the struggle to establish the foundations of a just society. Because Ruskin thought that art, and especially architecture, was the true expression of national life and character, the thesis uses a study of Australian architecture to reflect on the search for social justice in this period. This study is developed by comparing the experiences of the progressive architects influenced by Ruskin with those of leading figures in the early Australian labour and feminist movements. Their contrasting perspectives fill out the account given here not only of the understanding of Ruskin’s work in Australia, but also of the hopes of Australian reformers in a turbulent period marked by economic distress and political unrest. Ruskin was not the only writer to find eager readers in Australia as it moved closer to Federation, but he was read by more people, and his opinions cited on a wider range of issues, than almost any other contemporary figure.