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Wolfson Research Institute for Health and Wellbeing Here at Durham University
Wolfson Research Institute for Health and Wellbeing Annual Report 2019 Meet the Wolfson Team ................................................................................................ 4 Professor Amanda Ellison .......................................................................................... 4 Mrs Suzanne Boyd...................................................................................................... 4 Special Interest Groups .................................................................................................. 5 Teesside Aneurysm Group ......................................................................................... 5 Smoking Special Interest Group ................................................................................. 6 Pain SIG Report – Chronic pain: now and the future ................................................. 8 Physical Activity Special Interest Group .................................................................. 10 Stroke Special Interest Group .................................................................................. 13 Reports from Centres and Units .................................................................................. 14 Centre for the History of Medicine and Disease (CHMD) ........................................ 14 The Durham Infancy and Sleep Centre .................................................................... 15 Centre for Death and Life Studies ............................................................................ 17 Centre -
MAKING CHANGE HAPPEN! 7 – 9 September Kettering
MAKING CHANGE HAPPEN! 7 – 9 September Kettering ConferenCe ISSUe Hosted by Sandi Toksvig CONTENTS 04 Message from Women’s equality Party Leader 05 Welcome from Women’s equality Party Co-founders 07 Timetable at a glance FOUR PLAY AT 08 & 46 Making change happen 10-11 About the Women’s equality Party 12 About party conference CONFERENCE 13 Map of Kettering 14 - 15 Your guide to conference 16 - 17 Four Steps to taking part in Party Business 18 Kettering Conference Centre floor plan 22 Day 1: What’s on the agenda 23 - 29 Day 2: What’s on the agenda 30 - 31 Day 3: What’s on the agenda 34 Visitor experience Sophie Willan e velyn Mok Sophie Duker Ada Campe 35 Food Stalls Sophie Willan makes nominated for Female Sophie Duker describes Ada Campe’s act blends bold, unapologetic work Comedian of the Year herself as a “sexy- comedy, magic, regret 36 - 37 Exhibitors that is raucously funny and Show of the Year at cerebral comedy and shouting. A devotee and completely original. the 2017 Swedish Stand- underdog” and is quickly of variety and caba- 38 - 40 Who’s who: Women’s equality Party team Her work is political to Up gala, evelyn mok is establishing herself as ret, she has performed the core, but it doesn’t the best thing to come one of the most exciting throughout the UK for feel like it. out of Sweden since… new acts on the circuit. years. 41 - 45 Who’s who: Conference speakers @sophiewillan iKeA? @sophiedukebox @AdaCampe @evelynMok WOMEN’S EQUALITY 7:30pm PARTY COMEDY NIGHT Saturday 8 September 2 womensequality.org.uk Conference ISSUe 2 3 Welcome to the Women’s Equality Party’s second-ever party conference and to Kettering, a town famous according to its Conservative MP Philip Hollobone “as the home of Weetabix breakfast cereal”. -
Detained: Women Asylum Seekers Locked up in the UK
by Marchu Girma, Sophie Radice, Natasha Tsangarides and Natasha Walter DETAINED WOMEN ASYLUM SEEKERS LOCKED UP IN THE UK With Philippe Sands, Juliet Stevenson and Lydia Besong ii Detained Women asylum seekers locked up in the UK Women for Refugee Women challenges the injustices experienced by women who seek asylum in the UK. Our vision is a society in which women’s human rights are respected and Photographs throughout the report by Aliya Mirza, in which they are safe www.aliyamirza.com from persecution. The photograph on the front cover and some images throughout the report were posed by models. Women for Refugee Women Our mission is to ensure Tindlemanor 52 Featherstone Street that women seeking London EC1Y 8RT 020 7250 1239 asylum in the UK are [email protected] www.refugeewomen.co.uk treated with justice Charity Number: 1121174 and dignity © Women for Refugee Women, January 2014 Detained women asylum seekers locked up in the UK Contents 2 Why I Speak Out 26 Sarah’s Story by Lydia Besong 28 The Detained 3 Foreword by Professor Fast Track Philippe Sands QC 31 Yarl’s Wood 4 Executive summary 33 A Day in Yarl’s Wood 5 Key findings 35 The impact of detention 6 Introduction Mental health 8 Detention and asylum Health Gender-related Pregnant women persecution Separation from Rape and sexual children violence Leaving detention Torture 41 My journey to Female Genital Yarl’s Wood by Mutilation Juliet Stevenson Trafficking and forced 43 Recommendations prostitution 44 Methodology and Lesbians Further findings 18 Alice’s Story 46 Endnotes 20 Detention: policy 49 Acknowledgements and practice and contributors Legal framework Legal representation Costs Time 2 Detained Women asylum seekers locked up in the UK Why I Speak Out by Lydia Besong would not have left my own country if I had not been in danger for my life. -
Tezuka Dossier.Indd
Dossier de premsa Organitza Col·labora Del 31 d’octubre del 2019 al 6 de gener del 2020 Organitza i produeix: FICOMIC amb la col·laboració del Museu Nacional d’Art de Catalunya Comissari: Stéphane Beaujean Sala d’exposicions temporals 2 Astro Boy © Tezuka productions • El mangaka Osamu Tezuka, també conegut com a Déu del Manga per la seva immensa aportació a la vinyeta japonesa, és el protagonista d’una exposició que es podrà veure durant gairebé un parell de mesos al Museu Nacional d’Art de Catalunya, i que està integrada per gairebé 200 originals d’aquest autor. • L’exposició ha estat produïda per FICOMIC gràcies a l’estreta col·laboració amb el Mu- seu Nacional d’Art de Catalunya, Tezuka Productions i el Festival de la Bande Desinneè d’Angulema. Osamu Tezuka, el Déu del Manga és una mostra sense precedents al nos- tre país, que vol donar a conèixer de més a prop l’obra d’un creador vital per entendre l’evolució del manga després de la Segona Guerra Mundial, i també a un dels autors de manga més prestigiosos i prolífi cs a nivell mundial. • Osamu Tezuka, el Déu del Manga es podrà visitar a partir del 31 d’octubre d’aquest any, coincidint amb l’inici de la 25a edició del Manga Barcelona, fi ns al 6 de gener de 2020. 3 Fénix © Tezuka productions Oda a Kirihito © Tezuka productions El còmic al Museu Nacional Aquest projecte forma part de l’acord de col·laboració entre FICOMIC i el Museu Nacional d’Art de Catalunya gràcies al qual també es va produir l’exposició Corto Maltés, de Juan Díaz Canales i Rubén Pellejero, o la més recent El Víbora. -
The Aesthetics of Takarazuka: a Case Study on Erizabēto – Ai to Shi No Rondo
The aesthetics of Takarazuka: a case study on Erizabēto – ai to shi no rondo A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Japanese Department of Japanese University of Canterbury By Daniela Florentina Mageanu 2015 1 Contents Acknowledgements .......................................................................................................... 4 Abstract ............................................................................................................................. 5 Introduction ...................................................................................................................... 6 Chapter 1 ............................................................................................................................ 1.1 Takarazuka brief background .................................................................................. 8 1.2 Elisabeth – an introduction ..................................................................................... 9 1.3 Methodology .......................................................................................................... 11 1.4 Literature review ................................................................................................... 14 Chapter 2 ............................................................................................................................ 2.1 Early beginnings of the Takarazuka Revue ........................................................... 29 2.2 Takarazuka – war -
Takarazuka: Sexual Politics and Popular Culture in Modern Japan
Takarazuka: sexual politics and popular culture in modern Japan http://quod.lib.umich.edu.ezp-prod1.hul.harvard.edu/cgi/t/text/te... TAKARAZUKA: SEXUAL POLITICS AND POPULAR CULTURE IN MODERN JAPAN Jennifer Robertson, 2008, c1998. Contents Reviews Catalog Record Save citation « PREV NEXT » 4: Fan Pathology The cartoon: A young woman, a Takarazuka fan, lies in bed, crying. Her worried mother, wearing a kimono, stands next to her, and a mustached doctor looks on. A heart-shaped thought-bubble above the bed contains the image of an angelic musumeyaku on the silver bridge. The fan reaches out to touch her idol's shoe. Mother: Your fever is really high. Let the doctor examine you Daughter: No! I'm feverish because yesterday I touched the Waltz Princess! [1] "Takarazuka manga" 1935:59 The cartoon: A Takarazuka finale. A young couple is sitting in the audience; the woman is clapping wildly. Her boyfriend mutters: "There she goes again. I wish she were even half that excited with me." "Takarazuka manga" 1935:62 FANDOM [para. 297-299] 297 [Page 139] The discourse of fandom and its perceived pathology has a long history in Japan, and in this century it has emerged most notably in public debates about the relationship between sexuality and modernity. I shall trace the jagged contours of fandom in Japan since the 1910s, when the loanword "fan" (fuan) entered popular parlance. Others have written about Kabuki devotees in the Edo period (Matsudaira 1984; Raz 1983); but female fans in particular were a prominent site for and target of social criticism in the early twentieth century. -
WHO KILL: How the State Criminalises Women We Might Otherwise Be Burying TABLE of CONTENTS
WOMEN WHO KILL: how the state criminalises women we might otherwise be burying TABLE OF CONTENTS Acknowledgements 1 About the Contributors 2-3 Foreword by Harriet Wistrich, Director 4-6 Summary of Key Findings 7-12 1. Lack of protection from domestic abuse: triggers to women’s lethal violence 7 2. First responders when women kill 8 3. Court proceedings 8 4. Additional challenges 10 5. Expert evidence 11 6. After conviction 11 Introduction 13-17 The legal framework in England and Wales 15 Homicide in the context of intimate partner relationships 17 Methodology 18-21 Primary data collection 19 Women participants 20 Secondary data analysis 20 Study limitations 21 Key Findings: Prevalence and criminal justice outcomes for women 22-23 Key Findings: Criminal justice responses to women who kill 24-96 1. Lack of protection from domestic abuse: triggers to women’s lethal violence 24 2. First responders when women kill 33 3. Court proceedings 43 4. Additional challenges 73 5. Expert evidence 83 6. After conviction 90 TABLE OF CONTENTS CONT. Conclusion and Recommendations 97-106 Conclusion 97 Recommendations 98 1. Systemic change to address triggers to women’s lethal violence 98 2. When women kill: early stages of the criminal justice process 99 3. Court proceedings 101 4. Additional challenges 102 5. Expert evidence 102 6. After conviction 103 7. Further recommendations 105 8. Recommendations for further research 106 Appendix 1: Detailed methodology 107-118 Appendix 2: The intersection of domestic abuse, race and culture in cases involving Black and minority ethnic women in the criminal justice system 119-128 Appendix 3: Media analysis - women who kill 129-137 Appendix 4: The legal framework surrounding cases of women who kill 138-143 Endnotes 144-149 WOMEN WHO KILL: how the state criminalises women we might otherwise be burying Acknowledgements Research has been coordinated and written by Sophie Howes, with input from Helen Easton, Harriet Wistrich, Katy Swaine Williams, Clare Wade QC, Pragna Patel and Julie Bindel, Nic Mainwood, Hannana Siddiqui. -
UNSAFE CHILDREN Driving up Our Country’S Response to Child Sexual Abuse and Exploitation
UNSAFE CHILDREN Driving up our country’s response to child sexual abuse and exploitation March 2021 Unsafe Children: Driving up our country’s response to child sexual abuse and exploitation © The Centre for Social Justice, 2021 Published by the Centre for Social Justice, Kings Buildings, 16 Smith Square, Westminster, SW1P 3HQ www.centreforsocialjustice.org.uk @CSJthinktank designbysoapbox.com contents Contents About the Centre for Social Justice 2 Forewords 3 Commissioners 9 Executive summary 10 1 Defining terms 13 2 Child sexual abuse threat assessment 21 3 Education response 33 4 Online regulation response 41 5 Legislative response 59 6 Criminal justice response 69 7 Child social care response 91 8 Policing response 95 9 Offender focused response 113 10 All frontline services response 131 11 Health, therapeutic and support response 143 Conclusion 154 Recommendations 156 Bibliography 164 Unsafe Children | Contents 1 About the Centre for Social Justice Established in 2004, the Centre for Social Justice is an independent think-tank that studies the root causes of Britain’s social problems and addresses them by recommending practical, workable policy interventions. The CSJ’s vision is to give people in the UK who are experiencing the worst multiple disadvantages and injustice every possible opportunity to reach their full potential. The majority of the CSJ’s work is organised around five ‘pathways to poverty’, first identified in our ground-breaking 2007 report Breakthrough Britain. These are: educational failure; family breakdown; economic dependency and worklessness; addiction to drugs and alcohol; and severe personal debt. Since its inception, the CSJ has changed the landscape of our political discourse by putting social justice at the heart of British politics. -
Transcending Genders in the Takarazuka Theatre and Japanese Popular Culture
4 Female Masculinity and Fantasy Spaces: Transcending Genders in the Takarazuka Theatre and Japanese Popular Culture Karen Nakamura and Hisako Matsuo A young man stands in front of the ocean dreaming of the adventures he will have. A young woman in a café opens the lid of the feminine waste receptacle and sees the end of her life. (Sh_jo Kamen [The Young Girl’s Mask]; Kara 1970) INTRODUCTION In a volume that concerns itself primarily with alternative images of male masculinity in Japan, this chapter looks at female masculinity as found in the Takarazuka Theatre and related genres of popular culture featuring heroines and heroes who transcend gender categories. We argue that the particular forms of female masculinity found in the contemporary Takarazuka Theatre, sh_jo (young girl) culture, manga (comic books) and anime (animation) create a space where both female and male fans, regardless of their sexual orientations, can temporarily transcend their everyday gender expectations and roles. These, and Takarazuka in particular, are in essence a special type of asexual, agendered space created through the actor--fan relationship. In order to understand how this happens, we need to analyze the nature of this relationship on the stage as well as the particular details of the performance of female masculinity in the creation of these fantasy spaces. Karen Nakamura and Hisako Matsuo 129 In this chapter, we first discuss how female masculinity has been theorized in the West by feminist scholars. Differentiating ourselves from those studies by our interest in non-lesbian female masculinity, we introduce the Takarazuka Theatre and its highly organized fan clubs. -
WOMEN WHO KILL: How the State Criminalises Women We Might Otherwise Be Burying TABLE of CONTENTS
WOMEN WHO KILL: how the state criminalises women we might otherwise be burying TABLE OF CONTENTS Acknowledgements 1 About the Contributors 2-3 Foreword by Harriet Wistrich, Director 4-6 Summary of Key Findings 7-12 1. Lack of protection from domestic abuse: triggers to women’s lethal violence 7 2. First responders when women kill 8 3. Court proceedings 8 4. Additional challenges 10 5. Expert evidence 11 6. After conviction 11 Introduction 13-17 The legal framework in England and Wales 15 Homicide in the context of intimate partner relationships 17 Methodology 18-21 Primary data collection 19 Women participants 20 Secondary data analysis 20 Study limitations 21 Key Findings: Prevalence and criminal justice outcomes for women 22-23 Key Findings: Criminal justice responses to women who kill 24-96 1. Lack of protection from domestic abuse: triggers to women’s lethal violence 24 2. First responders when women kill 33 3. Court proceedings 43 4. Additional challenges 73 5. Expert evidence 83 6. After conviction 90 TABLE OF CONTENTS CONT. Conclusion and Recommendations 97-106 Conclusion 97 Recommendations 98 1. Systemic change to address triggers to women’s lethal violence 98 2. When women kill: early stages of the criminal justice process 99 3. Court proceedings 101 4. Additional challenges 102 5. Expert evidence 102 6. After conviction 103 7. Further recommendations 105 8. Recommendations for further research 106 Appendix 1: Detailed methodology 107-118 Appendix 2: The intersection of domestic abuse, race and culture in cases involving Black and minority ethnic women in the criminal justice system 119-128 Appendix 3: Media analysis - women who kill 129-137 Appendix 4: The legal framework surrounding cases of women who kill 138-143 Endnotes 144-149 WOMEN WHO KILL: how the state criminalises women we might otherwise be burying Acknowledgements Research has been coordinated and written by Sophie Howes, with input from Helen Easton, Harriet Wistrich, Katy Swaine Williams, Clare Wade QC, Pragna Patel and Julie Bindel, Nic Mainwood, Hannana Siddiqui. -
Musumeyaku Revisited
MUSUMEYAKU REVISITED Gendered Significance and Marketing of the Takarazuka Revue Program: Asian Studies, Leiden University Degree: Master 120 Thesis Supervisor: Dr. A. Ezawa Student: Siyu (Angela) Chen 1233696 Academic Year: 2016-2017 Word count: 14,032 1 INDEX 1. Introduction 3 2. The Appeal of Takarazuka 5 2.1 The Takarazuka Revue 2.2 The Otokoyaku – A Monopoly of Affection 2.3 The Musumeyaku – In the Shadow of the Spotlights 2.4 The Study of the Musumeyaku – The Musumeyaku-Ron 3. Research 21 3.1 Case Study - The Marketing of Musumeyaku in Theatre 3.2 Case Study - Purchasable Commodities 3.3 Case Study - The Portrayal of Musumeyaku in Printed Media 4. Discussion & Conclusion 44 5. Bibliography 46 2 1. INTRODUCTION Sugar, spice and everything nice – the Takarazuka Revue’s extravaganza and glittery dreams are well known within the theatre world. The Takarazuka Revue is a theatre group founded by Kobayashi Ichizou in 1914. Characteristic of the Takarazuka Revue is that all roles – women, men, children, etc. – are played by unmarried, female performers. Ever since Takarazuka’s popularity boom in the seventies, the Revue enjoys an ever-growing love of its vast fandom. Takarazuka’s great popularity is generally attributed to its male-role actresses; over the years they have allegedly come to almost monopolise the fans’ affection and are celebrated as inspirational beacons and an important source of empowerment. For many fans, it is no exaggeration to say that this theatre is their escape from patriarchal oppressions. Although Takarazuka is considered a source of female empowerment by its predominantly female fans, it is likewise arguable that the Revue’s traditions and organisation have been inherently patriarchal. -
Cross-Gender Performance in Kabuki and Takarazuka a Master's Thesis
Gender-Bending Roles in Japanese Theater: Cross-Gender Performance in Kabuki and Takarazuka A Master’s Thesis Submitted to the Faculty of the School of Humanities for the Degree of Master’s in Music Studies (Arts and Culture) Department of Musicology by Jessie M. Bodell Amsterdam, The Netherlands June 2018 Supervisor: Barbara Titus Instead of saying that all gender is this or all gender is that, let's recognize that the word gender has scores of meaning built into it. It's an amalgamation of bodies, identities, and life experiences, subconscious urges, sensations, and behaviors, some of which develop organically, and others which are shaped by language and culture. Instead of saying that gender is any one single thing, let's start describing it as a holistic experience. ―S. Bear Bergman and Kate Bornstein, Gender Outlaws: The Next Generation i Contents Introduction....................................................................................................................................1 Chapter 1: Kabuki..........................................................................................................................8 Chapter 2: Takarazuka................................................................................................................18 Chapter 3: Kata............................................................................................................................30 The Voice.......................................................................................................................................36