Suchergebnisse

[Resumo] Facer arquitectura é significar, é un acto político; ten unha dimensión social. O entendemento social da produción arquitectónica significa abordar o estudo dos grupos sociais en relación á disciplina. Nun contexto de desigualdade, identificar os sesgos culturais resulta clave á hora de promover valores contemplados nos dereitos humanos como a igualdade de xénero. Nesta procura, a chegada das TIC supoñen un punto de inflexión: a democratización das tecnoloxías da información e o nacemento de novos espazos globais de comunicación veñen representando unha oportunidade inédita para a difusión e o encontro de arquitectas, investigadoras e activistas na posta en cuestión do discurso oficial da arquitectura.[Abstract] To make architecture supposes giving meaning, it is a political action; it has a social dimension. The social understanding of architectonic production means tackling the study of social groups in relation to discipline. In an inequality context, identifying cultural bias becomes key just to promote human rights like gender equality. In this pursue, the emergence of ICT means an inflexion point: the democratization of information technologies and the appearance of new global communication spaces that represent an unprecedented opportunity for diffusion and meeting of women architects, investigators and activists joined questioning the official architectural discourse

"Gendered and sexualized abuse and other forms of violence are visibly present in the culture of the third millennium. Especially bodies that are gendered as female are – both dead and alive – objects of multiple forms of abuse and violence in the texts and imageries of contemporary culture. Men, on the other hand, are often represented as abusive towards women and as the violent gender or, as targets of other men's violence. Structural violence has also an impact on many areas of everyday life, and it is materialized in, for example discrimination and inequality. Gender and Violence: The Ethics and Politics of Reading scrutinizes gendered violence as a complex phenomenon of contemporary culture. The authors study the ways in which ways representations of violence can be read, viewed and received. They also discuss what kind of politics the violent representations implement and actualize, and how they affect their audience.
Gender and Violence takes a critical stance on the intersections of gender, power, and violence in literature, film, television and the internet. The analysis focuses on, for example, sci-fi, Nordic Noir and North American comedy series, poems, young adult literature (YA) and nationalist blog texts. The book presents both Finnish and international academic discussions, in which researchers in the fields of gender studies, arts and literature, and cultural studies challenge contemporary English abstract 279 understanding of gender, sexuality, power, and violence. Moreover, Gender and Violence provides tools for critical discussions on violence and in-depth scrutiny about its cost on all of us.
Gender and Violence is an anthology of academic research articles. It works well as an academic textbook, but it also provides timely and new knowledge for everyone interested in questions of gender and violence – phenomena that touch upon all of us."

The book explores the discourses of modernism, contemporary art and art history writing as well as their interdisciplinary values and boundaries – and cases that do not fit within these boundaries.The articles explore the meanings of junk and relics, high art, design, and the intimate experience of art and public criticism. The themes explored in the book expand our views on the queer potential of colour, the meaning of detail, and the relationships between visual art and writing.
The fourteen peer-reviewed case studies in the volume offer new insights from the fields of visual cultural studies, art history and gender studies. The articles in the anthology do not rely strictly on disciplinary boundaries but also open themselves up to broader fields of culture.

The topic of the book is the incremental growth of linguistic knowledge from lexical to structural-cum-textual during the so-called later language development. Language mastery does not presuppose any acquaintance with prescriptive grammar but, instead, concerns the core of language which the so-called consensus principle applies to: the most frequent words and structures are mastered with certainty by everybody, but uncertainty increases as less frequent and more variable phenomena are taken into consideration. It is the goal of the study to make explicit the knowledge that is common to school children of different age groups, and to show how it develops both in its core and in its fringe areas. The mastery of less common aspects exhibits considerable statistical variation. The research embodies methodological pluralism insofar as it has been carried out by means both of the corpus method and the experimental method. Here experimental subsumes writing tasks, paper-and-pencil tests, and behavior under experimental conditions. The amount of participants native in Finnish varies from 300–2000. The book has a bipartite structure: mastery of meanings (Part I), and mastery of forms (Part II).

Literature has a long history of chastising women who defy ,traditional' gender roles. By turning a critical eye on the poem danse grotesque by the Icelandic poet Sjón, its staging and visual presentations, as well as fundamental interpretive keys such as trolls and dance, one senses a resistance to the prevailing manifestations of women in the Western media. The article shows how the poem reassesses the relationship between femininity and death in Western culture.Keywords: Concrete poetry, avant-garde, decadence, gender roles, death, dance, trollsKjartan Már ÓmarssonDoktorsnemi í almennri bókmenntafræði Hugvísindasviði Háskóla ÍslandsSæmundargötu 2 IS-101 Reykjavík, Íslandko@hi.is

In the Icelandic traditional ballads from medieval and post-medieval times, wo-men and their voices are very prominent, while stories of male heroes were rather portrayed in rímur. The language is very unusual and shows signs of translation, formulas are frequently used, and the mode of narration is objective and clear. Love is a common subject, and so is violence, often gender-based and sexual. In the article the background of these ballads is discussed shortly and their emergence in Icelandic oral culture and later its literature, as they were recorded by educated men, from nameless sources, most probably women. Seven ballads are then used to show different aspects of violence within the genre. All are highly dramatic, and their subject is harsh: hardship, rape, birth and loss of children, and sometimes the victims take things into their own hands and avenge in a graphic way. How ballads that tell such terrible tales, can have been sung and danced to at joyous gatherings, is an interesting food for thought. It will be reasoned that these ballads have primarily been sung by women, and they can even have been a consolation and a tool to deal with gender-based violence in their own lives.

A STXUE de 26-7-2018 (Asunto M. B) declara o carácter discriminatorio dunha normativa nacional (británica) que esixe ás persoas transexuais casadas a anulación do seu matrimonio para acceder ao recoñecemento xurídico pleno do seu cambio de xénero, en tanto condicionante do acceso á pensión de xubilación á idade establecida polo ordenamento nacional para as persoas do sexo adquirido. Este axuizamento leva a cabo en relación á Directiva 79/7/CEE, do 19 de decembro de 1978 relativa á aplicación progresiva do principio de igualdade de trato entre homes e mulleres en materia de seguridade social. ; Este traballo analiza este pronunciamento xudicial situándoo no conxunto da (escasa) xurisprudencia comunitaria que abordou as consecuencias do cambio de sexo desde a normativa comunitaria de carácter socio-laboral. Apúntase tamén a ( fragmentaria e dispersa) regulación xurídica española relativa ao cambio de sexo-xénero e as consecuencias en materia de seguridade social. O traballo pon de manifesto que non son poucos -e leste é un deles- os casos nos que a pesar da diferenciación sexo-xénero ambos os termos utilízanse no mesmo sentido. O traballo avoga por un Dereito "de-xenerado" e "de-xenerador" no sentido sinalado pola autora no epílogo final. ; The ECJ ruling of 26th July 2018 (MB) declares the discriminatory nature of a national (British) regulation that requires married transgender people to annul their marriage in order to have full legal recognition of their gender change, as a conditioning factor of access to retirement pension at the age established by the national law for persons of acquired sex. This prosecution is carried out in relation to Directive 79/7/EEC of 19th December 1978 on the progressive application of the principle of equal treatment of men and women in social security. This paper analyzes this judicial pronouncement placing it in the whole of the (scarce) EU jurisprudence that has addressed the consequences of sex change in the EU regulations of a socio-labour nature. It also points to the (fragmented and dispersed) Spanish legal regulation regarding the sex-gender change and the consequences in terms of social security. The paper shows that there are not a few - and this is one of them - cases in which, despite the sex-gender differentiation, both terms are used in the same sense. The paper advocates a Law "de-generated" and "degenerator" in the sense indicated by the author in the final epilogue.

This book is the first Finnish-language collection of research on superdiversity. At the core of the book is the growing migration to Finland since the turn of the 1990s and its numerous effects on Finnish society. The interdisciplinary examination of superdiversity is important at the current moment: Finland as a society has reached the point where certain social categories, such as ethnic background, country of birth, mother tongue or gender, are not necessarily sufficient to understand the increased diversity and its consequences.
The book consists of a comprehensive introduction to the topic and thirteen chapters. In Finland, research on superdiversity is carried out especially in critical sociolinguistics and applied language studies, education, cultural studies, social sciences, and urban studies. Therefore, these disciplines are strongly represented in the collection, and the chapters approach a variety of topics including refugees' mental health, experiences of multilingual families, the diversity of education and working life, discursive practices in social media, issues of urban planning and pro-asylum activism.

This article surveys the ouevre of the Icelandic writer Jakobína Sigurðardóttir (1918-1994) on the occasion of her centenary. Various aspects of her novels, short stories, poetry and memoirs are examined, including the ways in which she presents time in her texts – time as it pertains to individual life spans and the interaction of different generations, as well as time in the life of a nation which could be said to have switched abodes in the course of the 20th Century, moving from rural to urban settings, and during this time the island nation attained sovereignty and independence. narrative is a key element in treating time and historical shifts, and attention is paid to the ways in which Sigurðardóttir both renews realist traditions and resorts to more radical narrative forms, pulling the reader into an active dialogue on gender and generational issues, on social justice and equality, as well on the routes and conditions which connect and mould places of dwelling – individual houses as well as the abode of the nation.

During the Forties, Icelandic novelist Guðmundur Daníelsson, wrote a trilogy called Out of the Ground Wast Thou Taken: Fire (1941), Sand (1942) and The Land beyond the Land (1944). Leading up to the publications Daníelsson was vocal about the fact that he had read the works of American novelist William Faulkner. Later in life he would reveal that he read Faulkner in Norwegian translations and proudly acknowledged the direct line of descent he recognized between his own work and that of his American colleague. Until now no systematic analyzes has been done on the many parallels between their works. The article is divided in two. The first half unfolds in which ways Daníelsson reproduced structures, milieu, ideas, characters and events from Faulkner's nov-el Light in August in Fire. The latter half of the article situates Daníelsson's trilogy within a critical framework developed by Faulkner scholars in the last two decades where they have explored the relationship between Faulkner and the many writers who have engaged with him from the postcolonial world. Questions will be raised about if and then how Daníelsson deals with Iceland's postcolonial past in his novels, with a special emphasis on the connection between power and identity as it mani-fests itself in relation to, for example, class, race, gender and disability.

ParlaMint is a multilingual set of comparable corpora containing parliamentary debates mostly starting in 2015 and extending to mid-2020, with each corpus being about 20 million words in size. The sessions in the corpora are marked as belonging to the COVID-19 period (after October 2019), or being "reference" (before that date). The corpora have extensive metadata, including aspects of the parliament; the speakers (name, gender, MP status, party affiliation, party coalition/opposition); are structured into time-stamped terms, sessions and meetings; with speeches being marked by the speaker and their role (e.g. chair, regular speaker). The speeches also contain marked-up transcriber comments, such as gaps in the transcription, interruptions, applause, etc. Note that some corpora have further information, e.g. the year of birth of the speakers, links to their Wikipedia articles, their membership in various committees, etc. The corpora are encoded according to the Parla-CLARIN TEI recommendation (https://clarin-eric.github.io/parla-clarin/), but have been validated against the compatible, but much stricter ParlaMint schemas. This entry contains the ParlaMint TEI-encoded corpora with the derived plain text version of the corpus along with TSV metadata on the speeches. Also included is the 2.0 release of the data and scripts available at the GitHub repository of the ParlaMint project. Note that there also exists the linguistically marked-up version of the corpus, which is available at http://hdl.handle.net/11356/1405.

ParlaMint 2.1 is a multilingual set of 17 comparable corpora containing parliamentary debates mostly starting in 2015 and extending to mid-2020, with each corpus being about 20 million words in size. The sessions in the corpora are marked as belonging to the COVID-19 period (after November 1st 2019), or being "reference" (before that date). The corpora have extensive metadata, including aspects of the parliament; the speakers (name, gender, MP status, party affiliation, party coalition/opposition); are structured into time-stamped terms, sessions and meetings; with speeches being marked by the speaker and their role (e.g. chair, regular speaker). The speeches also contain marked-up transcriber comments, such as gaps in the transcription, interruptions, applause, etc. Note that some corpora have further information, e.g. the year of birth of the speakers, links to their Wikipedia articles, their membership in various committees, etc. The corpora are encoded according to the Parla-CLARIN TEI recommendation (https://clarin-eric.github.io/parla-clarin/), but have been validated against the compatible, but much stricter ParlaMint schemas. This entry contains the ParlaMint TEI-encoded corpora with the derived plain text version of the corpus along with TSV metadata on the speeches. Also included is the 2.0 release of the data and scripts available at the GitHub repository of the ParlaMint project. Note that there also exists the linguistically marked-up version of the corpus, which is available at http://hdl.handle.net/11356/1431.

The article initially addresses the novel Kata by Steinar Bragi in the context of genre and asks to what extent it aligns itself with the crime novel, in particular the more recent brand of the crime novel wherein social issues are placed at the forefront. The point is made that Kata diverges in some important respects from even the most radical of critiques found within the parameters of the crime genre, in that it suspends the very concepts that usually ground such narratives (justice, right, and crime) and comes to the conclusion that the widespread social acceptance of violence against women delegitimizes the entire edifice of Western thinking on social justice. It is here that the article looks towards Louis Althusser's theorization 149of ideological and oppressive state apparatuses, while shifting their object from the class struggle to gender relations. Althusser's concepts are employed to shed light on the ideology that supports and enables violence against women in contemporary societies, and how the reverse of the oppressive function of the state, that is, state leniency and disinterest in prosecuting sex crimes, or creating the environment in which they are unlikely to be reported, are taken up in the novel, thematized, and in turn, fuel the rage of the protagonist. Finally, a question is raised as to the signific-ance of the fact that a novel about female rage and disempowerment is written by a male author.