Suchergebnisse

Intro -- Title Page -- Copyright -- Dedication -- Acknowledgments -- Contents -- Inappropriate Bodies: An Entry Point -- Part I -- Chapter 1 -- Chapter Two -- Chapter Three -- Chapter Four -- Chapter Five -- Chapter Six -- Chapter Seven -- Part II -- Chapter Eight -- Chapter Nine -- Chapter Ten -- Chapter 11 -- Chapter Twelve -- Part III -- Chapter Thirteen -- Chapter Fourteen -- Chapter Fifteen -- Chapter Sixteen -- Chapter Seventeen -- Chapter Eighteen -- Afterword -- Contributor Notes -- Index of Illustrations -- Deepest appreciation to Demeter's monthly Donors.

Images of Muslim women in global popular culture convey ideas of restriction and oppression: to many in the West, the covered Arab woman appears a victim, unable to express herself in word and deed. Artists and writers from within Arab cultures have challenged such simplistic readings, some offering alternative readings of living behind the veil, others offering the possibility of a feminist existence within an apparently oppressive society, all challenging the Orientalist mindset implied by such assumptions.

"Epp Buller's and Reeve's anthology showcases an array of rich and diverse work. The three sections, "Body Politics," "Family Practices" and "By Design," comprise overlapping yet distinct discussions of individual artists, critical theory, personal testaments, interviews and conversations, while employing a multiplicity of approaches to the still controversial discussion of the maternal body in visual art, performance and design. The design section was a revelation to me in its consideration of the constraints placed upon the maternal body in the constructed environment. Inappropriate Bodies is a welcome addition to the as yet under-represented field of maternal studies."--

This special forum for Studies in the Maternal asks fourteen activistmother-artists, or "mamactivists", to respond to the following questions: (1) When and why did you start making activist/political work on the maternal? (2) What reception/reaction did you receive for the work? (3) What is the latest activist/political work you have made on the maternal? (4) What shifts do you see from this first work to this last work? and (5) Why is the maternal, in your opinion, important to activist, engaged, political art today? Responses highlight a range of geographic and cultural perspectives, as well as artistic strategies. One commonality between them is that they take the maternal not as a biological facticity, but a rich feminist site of political intervention.