Make-believe: fashion and Cinelandia in Rizzoli's Lei (1933–38)

Amidst the wide array of women's magazines published in Italy in the 1930s, Lei. Rivista di vita femminile presents a compelling case study of the make-believe effect achieved through fashion and the allure of the silver screen. Published by Angelo Rizzoli between 1933 and 1938, Lei stands out for a cosmopolitan, American-looking lifestyle that champions an Italian ‘new woman’, aware of her own new image and enmeshed in a fantastic world of romantic novels and movie stars. This essay studies the paradoxes and complexities of an Italian illustrated periodical promoting the image of a fashionable woman in the midst of growing imperialism and autarchy, and publishing the work of Leica photographers, Lucio Ridenti and Paul Wolff in particular. Lei reflects the fundamental ambivalence of this time, promoting Italian fashion through Hollywood as a way to counteract the French fashion industry, and inviting women to role-play through the allure of their image.     

论我国妇女的非正规就业

非正规就业已成为下岗失业职工寻求再就业的主要渠道,在缓解就业压力方面发挥着越来越重要的作用。加强对非正规就业问题的研究,积极促进我国妇女就业,具有重大的战略意义。     

[女受]鼎相关问题试析

新著录[女受]鼎属于西周早中期之际器物。铭文中不仅首见"退事"、"内宫"等用辞,且内容亦为首例女性册命任职记录。铭文内容所涉及的西周贵族家族家内制度、女性受赏任职、性别地位意识等问题,皆引起我们对西周历史认知的再思考。     

宋恕维新思想述论

宋恕是近代维新思想家。早在1892年,他就给李鸿章上书,提出更官制、设议院、改试令、易西服的变法主张。他反对当时在思想界占统治地位的程朱理学,把秦汉以来的儒学视为阳儒阴法之学。他以复兴孔孟儒学为己任,要在“复教改制”的前提下进行变法。他主张学习日本,实施全民义务教育。他同情妇女苦难,提出了一系列解放妇女的主张,其思想在当时维新派中是较为突出的。     

Crafting the ��New Woman�� in China��s left-wing cinema of the 1930s: Sun Yu��s three films

“New Woman” and “Modern Girl” discourse prevailed in China in the early twentieth century. The left-wing cinema of the 1930s engaged in this discourse and created a filmic space in which to negotiate gender and modernity. Focusing on three films directed by Sun Yu (1900–90): Wild Rose, Little Toys and The Highway, this paper compares Sun Yu’s new women with those in two other films: Lessons for Girls, a lesser known but interesting caricature of “new” women, and the New Woman, the best known of the “new woman” genre, both of which depict how urban, petty bourgeois women failed in their struggles for independence. In sharp contrast, Sun Yu used poetic realism to create a series of refreshingly independent working class women characters that successfully combined traditional moral values and modern patriotism and resisted the radical anti-traditionalism of the new woman discourse. This paper offers a differentiated analysis of the diverse and complex ways in which China’s left-wing cinema negotiated gender and modernity in the 1930s.     

Baudelaire's “Teacher”: Joseph de Maistre and Le Spleen de Paris

For a total of twenty years (1856–76), Gustave Flaubert corresponded with a woman whom he would never meet and who had first written to him to express her admiration for his novel, Madame Bovary. These forty-five letters are among the most fascinating and important that he was to write, reflecting on his life, on art and esthetics, and on his determined dedication to the practice of writing. The letters to Marie-Sophie Leroyer de Chantepie occupy a central role in Flaubert's Correspondence, between the long series of letters he wrote to two other women, Louise Colet and George Sand. They are all dominated by the idea of the centrality of art, literature, and the activity of writing, and of the subordinate status of all other experiences and interests.     

Some reflections on religion and nationalism

The metamorphosis undergone by Jewish women in the nineteenth and twentieth centuries was the result of modernization, secularization, and education. Similarly, the offspring of the new Jewish woman, the “new Hebrew woman” was the embodiment of various schools of thought, in particular the liberal and the socialist, which were prevalent at that time. The new Hebrew woman offered a feminist interpretation of the malaise of the Jewish people in general, and of Jewish women in particular, challenging the roles designated to her by her male peers and offering her own alternative interpretation. She chose Eretz Yisrael and Zionism, to “auto-emancipate” herself rather than waiting passively for her emancipation by others. In this sense, the new Hebrew woman collaborated with and reflected the hegemonic Zionist ideals and priorities. This article aims to analyze the discourse of the new Hebrew woman, as manifested in Palestine-Eretz Yisrael in the first half of the twentieth century in order to shed light on the link between gender and nationalism in the Zionist context. In particular, it considers how men and women envisioned the new Hebrew woman; how class, political affiliation, and gender shaped their interpretation; and how the new Hebrew woman differed from her counterpart, the new Jewish woman.     

Feminism and its ‘other’: representing the ‘new woman’ of Bangladesh

This essay examines women's oppression and organizing against gender violence in contemporary Bangladesh through the lens of television. I argue that the telefilm Ayna (The Mirror, 2006), written and directed by popular film actor and women's rights activist Kabari Sarwar, offers a window into the changing social and economic landscape of contemporary Bangladesh and the complex negotiations of power and inequality across gender, class and community. Furthermore, it offers an opportunity to unpack the social messages underlying development and modernization initiatives, the new kinds of alliances as well as dependencies engendered by them, and their multiple and uneven consequences. An investigation of the representations of competing and contradictory notions of women's subjectivity and agency in this telefilm allows us to understand how these intersect with shifting notions of local/global patriarchies, feminist solidarity and women's empowerment in Bangladesh today. Further, this essay illuminates the disjunctures between representations of the ‘new woman’ circulated through development and certain feminist advocacy narratives with women's lived realities of oppression, and survival.     

冤哉，秋瑾女士——析时论对秋瑾案的评说

1907年的皖浙案震动全国,上海各报连续多日追踪报导,猛烈抨击地方政府和涉案官员,显示了民间舆论"天下己任"的责任感与使命感.与今日高扬秋瑾"革命女杰"、"反清志士"迥然不同的是,当时凡涉及秋瑾与浙案的新闻、论说,皆强调弱女子不会参加革命,这是官方株连无辜的冤案.其中原因既有清政府权威丧失,也与延续千年仍是当时社会主流意识的性别与社会角色观念有关.     

Gendered Couchsurfing: women from Western Europe and East-Asia contesting de-sexualised cosmopolitanism

Couchsurfing is a social-networking site for hospitality exchange. To promote the site, the organizer, Couchsurfing.org, creates the discourse of Couchsurfing cosmopolitanism to emphasize the value of sharing with strangers and tolerance of cultural difference in Couchsurfing practice. This study argues that the discourse production is under a patriarchal system, in which the experience about women’s fear of men’s harassment and according practice are concealed. By conceptualizing the sexed-and-gendered body in Couchsurfing, this study exposes the power, knowledge and social relation in the cross-cultural context of Couchsurfing, represented not only in women’s feeling, performance and interaction but also in their embodied cosmopolitanism. The comparison between with Western-European and East-Asian women’s experience is also included in the analysis. It highlights the effects of the gender role inscribed on women’s body which makes a difference in women’s cross-cultural interaction as well as their embodied cosmopolitanism.