Feminist Literary and Filmic Cultures for Social Action: Gender Response-able Labs examines teaching and research practices under feminist new materialisms, affect theories and response-ability through literary and visual products, and offers possible bridges between academia and activism to create feminist interventions in contemporary neoliberal structures. Featuring chapters from contributors across a wide range of disciplines, this book follows a methodological framework that blends traditionally opposite categories, such as theory and practice, and explores contemporary literature and films as case studies within innovative “feminist response-able labs”. In Feminist Literary and Filmic Cultures for Social Action readers will encounter a collaborative trans-disciplinary toolbox which can be of use to multiple disciplines and an invaluable resource to advanced undergraduate students, postgraduate researchers and scholars in literary studies, film studies, feminist theories, new materialisms, and affective pedagogies

'Madwomen in Social Justice Movements, Literatures, and Art' boldly reasserts the importance of the Madwoman more than four decades after the publication of Sandra Gilbert and Susan Gubar’s seminal work in feminist literary criticism, 'The Madwoman in the Attic'. Since Gilbert and Gubar’s work was published, the Madwoman has reemerged to do important work, rock the academic boat, and ignite social justice agency inside and outside of academic spaces, moving beyond the literary context that defined the Madwoman in the late 20th century. In this dynamic collection of essays, scholars, creative writers, and Mad activists come together to (re)define the Madwoman in pluralistic and expansive ways and to realize new potential in Mad agency. This collection blazes new directions of thinking through Madness as a gendered category, comprised of a combination of creative works that (re)imagine the figure of the Madwoman, speeches in which Mad-identifying artists and writers reclaim the label of “Madwoman,” and scholarly essays that articulate ambitious theories of the Madwoman. The collection is an interdisciplinary scholarly resource that will appeal to multiple academic fields, including literary studies, disability studies, feminist studies, and Mad studies. Additionally, the work contributes to the countermovement against colonial, sanist, patriarchal, and institutional social practices that continue to silence women and confine them to the metaphorical attic. Appealing to a broad audience of readers, 'Madwomen in Social Justice Movements, Literatures, and Art' is a cutting-edge inquiry into the implications of Madness as a theoretical tool in which dissenting, deviant, and abnormal women and gender non-conforming writers, artists, and activists open the door to Mad futurities.

This book explores 50 years of Irish women’s prison writing, 1960s–2010s, connecting the work of women leaders and writers in Northern Ireland during the Troubles. This volume analyzes political communiqués, petitions, news coverage, prison files, personal letters, poetry and short prose, and memoirs, highlighting the personal correspondence, auto/biographical narratives, and poetry of the following key women: Bernadette McAliskey, Eileen Hickey, Mairéad Farrell, Síle Darragh, Ella O’Dwyer, Martina Anderson, Dolours Price, Marian McGlinchey (formerly Marian Price), Áine and Eibhlín Nic Giolla Easpaig (Ann and Eileen Gillespie), Roseleen Walsh, and Margaretta D’Arcy. This text builds on different fields and discourses to reimagine gender and genre as central to an interdisciplinary and intersectional prison archive. Centering Irish women’s prison writings, in order to challenge canonization in history and literature, this volume argues that women’s lives and words offer a different view of gender and nation as well as offer a fuller and more inclusive archive of Irish history and literature. Additionally, this book will point to the ways in which their politics of everyday life and their cultural work is a form of anti-colonial civil rights feminism, for it speaks truth to power in a world in which compliance and silence are valued. Overall, this text focuses on rethinking and recasting women’s voices and words in order to document and promote the ongoing Irish freedom struggle from an abolitionist feminist perspective.

Legal ethics should be far more than a set of rules on professional responsibility; they can serve as a means for changing power relations, empowering the disenfranchised, and advocating progressive social change. Lawyers’ Ethics and the Pursuit of Social Justice broadens the discussion on legal ethics by first introducing the historical and theoretical background and then connecting it to real world issues while addressing lawyers' ethical obligations to work for social justice. The reader features differing critical approaches and opens up new avenues of ethical debate. While the literature included is diverse and interdisciplinary, it shares a vision of legal ethical inquiry as a means for changing power relations, empowering the disenfranchised, and advocating progressive social change. Through a combination of provocative selections, lively writing, concrete examples of cases and social movements, and incisive editorial commentary, Lawyers ’Ethics and the Pursuit of Social Justice defines the emergence of an exciting new field of critical legal ethics scholarship.

This edited collection offers an original critical clinical approach to social work practice, written by social work educators from the School of Social Work at Dalhousie University and their collaborators. It provides a Canadian perspective on the diverse issues social workers encounter in the field, highlighting the practical application of feminist, narrative, anti-racist, and postcolonial frameworks. With the aim of producing counterstories that participate in social resistance, this volume focuses on integrating critical theory with direct clinical practice. Through the use of case studies, the contributors tackle a range of substantive issues including ethics, working with complex trauma, men’s use of violence, substance use among women and girls, Indigenous social work praxis, critical child welfare approaches, counterstorying experiences of (dis)Ability, and animal-informed social work practice.

This project offers a critical overview of how online activities and platforms are becoming an important source for the production and promotion of women’s films. Inspired by a transnational feminist framework, Maule examines blogs, websites, online services and projects related to women’s filmmaking in an interrogation of the very meaning of women’s cinema at the complex intersection with digital technology and globalization. It discusses women’s cinema 2.0 as a resistant type of cinematic expression and brings attention to the difficulties inherent in raising and expanding visibility for women’s filmic expression within a global sphere dominated by neo-liberalism and post-feminism. The author pays close attention to the challenges and contradictions involved in bringing a niche area of filmmaking and feminist discourse to the broad and diverse communities of the Internet and global media market, while also highlighting the changing forms of media and feminism.

DIVBarlow documents the history of “woman” as a category in twentieth century Chinese history, tracing the question of gender through various phases in the literary career of Ding Ling, a major modern Chinese writer./div

At no point in recorded history has there been an absence of intense, and heated, discussion about the subject of how to conduct relations between women and men. This Handbook provides a comprehensive guide to these omnipresent issues and debates, mapping the present and future of thinking about feminist theory. The chapters gathered here present the state of the art in scholarship in the field, covering: Epistemology and marginality Literary, visual and cultural representations Sexuality Macro and microeconomics of gender Conflict and peace. The most important consensus in this volume is that a central organizing tenet of feminism is its willingness to examine the ways in which gender and relations between women and men have been (and are) organized. The authors bring a shared commitment to the critical appraisal of gender relations, as well as a recognition that to think ‘theoretically’ is not to detach concerns from lived experience but to extend the possibilities of understanding. With this focus on theory and theorizing about the world in which we live, this Handbook asks us, across all disciplines and situations, to abandon our taken-for-granted assumptions about the world and interrogate both the origin and the implications of our ideas about gender relations and feminism. It is an essential reference work for advanced students and academics not only of feminist theory, but of gender and sexuality across the humanities and social sciences.

The Critical Practice of Film introduces film studies and production through the integration of criticism, theory and practice. Its approach is that of critical practice, a process that explores the integration and intersection between the critical analysis of films and the practical aspects of filmmaking. In other words, this book is both an introduction to the ways in which we watch films, as well as an introduction to how films are created. The more you know about how films are made, the more you can appreciate the artistry involved in a film. Author Elspeth kydd combines explorations of basic technical and aesthetic principles with extended analyses drawn from both classic and contemporary Hollywood and other world cinemas, including Battleship Potemkin (1927), Un Chien andalou (1929), Stagecoach (1939), Mildred Pierce (1945), Notorious (1946), Letter from an Unknown Woman (1948), Gentlemen Prefer Blondes (1953), Breathless (1959), Memories of Underdevelopment (1968), Star Wars (1977), Raiders of the Lost Ark (1981), Distant Voices, Still Lives (1988), The Matrix (1999), Amores Perros (2000), Gosford Park (2001) and The Lord of the Rings trilogy (2001–3). Also included is a range of exercises designed to stimulate critical and analytical thought and help to demystify the process of creative mediamaking. Assignments range in scale from simple storyboarding and narrative development exercises that may be explored with minimal technology, to more complex video projects that can be adapted to suit varying levels of technical skill. The Critical Practice of Film provides an accessible introduction to the theory and practice of film studies, integrating creative practice with critical and theoretical engagement to guide students towards an engaged form of creative expression and an active role as reviewer and critic. Beautifully presented, this ground-breaking text offers all students an integrated understanding of film criticism and production. Elspeth kydd is a Senior Lecturer in Film Studies and Video Production at the University of the West of England. She has taught, researched and published in film and television studies for nearly twenty years, as well as being an active documentary videomaker. This book developed from teaching integrated theory-practice film courses at universities in the US and UK.