Suchergebnisse

This study examines the social, economic, political, religious, and cultural climate of gender inequity in art history. The outcome of the study is intended to ultimately create a more inclusive contemporary art history course for adult learners. It is important to adult education because it supports the individual along with other benefits to both the learner and the facilitator. The body of research and its findings within this study will be of interest to adult educators, art historians, women studies professionals and students.

Bien que les femmes du Québec bénéficient aujourd'hui de l'égalité de droits, grâce aux décisions de la politique gouvernementale et au mouvement des femmes qui a été centré sur la lutte contre la violence domestique, l'obtention du congé maternité et de l'égalité de rémunération, il reste encore du chemin à parcourir avant d'arriver à une égalité de fait. Mais, il faut être optimistes! Dans cette étude nous nous proposons de jeter un regard critique sur le rôle joué dans le Québec contemporain par ces éditrices, directrices et blogueuses qui sont des exemples de réussite. Il s'agira d'appuyer notre attention sur certaines protagonistes littéraires qui apportent leur contribution dans une société où les femmes continuent d'être moins payées que les hommes. Although women are better off today in Quebec, thanks to the decisions of the government policy and to the feminist movement, with its series of political campaigns for reforms on issues, such as reproductive rights, domestic violence, maternity leave, equal pay, there is still a long way to go to achieve Gender equality. But, we have to be optimistic! In this article, we propose to take a critical look at the role played in contemporary Quebec by some women newspaper editors and some popular women bloggers who broke the glass ceiling in their respective fields. We will focus on some literary protagonists who help to improve a society where they continue, despite huge changes in terms of employment, to earn less than men.

In the fifteenth century, the Oblates of Santa Francesca Romana, a fledgling community of religious women in Rome, commissioned an impressive array of artwork for their newly acquired living quarters, the Tor de'Specchi. The imagery focused overwhelmingly on the sensual, corporeal nature of contemporary spirituality, populating the walls of the monastery with a highly naturalistic assortment of earthly, divine, and demonic figures. This book draws on art history, anthropology, and gender studies to explore the disciplinary and didactic role of the images, as well as their relationship to important papal projects at the Vatican

Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History history yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history

AbstractIntroduction: To systematically review the literature on mother‐to‐child transmission in breastfed infants whose mothers received antiretroviral therapy and support the process of updating the World Health Organization infant feeding guidelines in the context of HIV and ART.Methods: We reviewed experimental and observational studies; exposure was maternal HIV antiretroviral therapy (and duration) and infant feeding modality; outcomes were overall and postnatal HIV transmission rates in the infant at 6, 9, 12 and 18 months. English literature from 2005 to 2015 was systematically searched in multiple electronic databases. Papers were analysed by narrative synthesis; data were pooled in random effects meta‐analyses. Postnatal transmission was assessed from four to six weeks of life. Study quality was assessed using a modified Newcastle‐Ottawa Scale (NOS) and GRADE.Results and discussion: Eleven studies were identified, from 1439 citations and review of 72 abstracts. Heterogeneity in study methodology and pooled estimates was considerable. Overall pooled transmission rates at 6 months for breastfed infants with mothers on antiretroviral treatment (ART) was 3.54% (95% CI: 1.15–5.93%) and at 12 months 4.23% (95% CI: 2.97–5.49%). Postnatal transmission rates were 1.08 (95% CI: 0.32–1.85) at six and 2.93 (95% CI: 0.68–5.18) at 12 months. ART was mostly provided for PMTCT only and did not continue beyond six months postpartum. No study provided data on mixed feeding and transmission risk.Conclusions: There is evidence of substantially reduced postnatal HIV transmission risk under the cover of maternal ART. However, transmission risk increased once PMTCT ART stopped at six months, which supports the current World Health Organization recommendations of life‐long ART for all.

This study explores the obstacles and opportunities for women who sell arts and crafts along the borders of the Kruger National Park in Mpumalanga Province of South Africa. The Kruger National Park is one of South Africa's most famous symbols, both nationally and internationally. Women who stay along the borders of the Kruger National Park have also harnessed tapping into the tourism sector by trading in arts and crafts because tourists purchase them as souvenirs. Women dominate the craft industry because of fewer barriers to entry as they normally use traditional skills to create crafts. South African women in the informal sector are said to be significantly contributing to the Gross Domestic Product of the country. A qualitative research design utilising a Case study was used to explore the obstacles and opportunities for women who trade in arts and crafts in the tourism industry around the Kruger National Park. Data was collected through semi-structured interview schedules from thirty (30) women who sell arts and crafts from the Kruger National Park gates in Mpumalanga Province. Data was then summarised to capture emerging themes as well as opinions, attitudes and perceptions. The key findings reveal that women face various challenges, mainly in terms of (i) lack of access to finance, (ii) low literacy levels (iii) lack of access to infrastructure and (iv) Poor marketing skills and access to markets.

Purpose of the studyThe guidelines on the initial choice of antiretroviral therapy (ART) in women starting ART for the first time in pregnancy have changed considerably over the past 13 years [1,2]. We sought to determine whether these different ART strategies have influenced subsequent clinical, immunological or virological outcomes in our population. Women in our cohort received either zidovudine (AZT) monotherapy, short course antiretroviral therapy (SCART) or continued ART post‐partum. AZT monotherapy in pregnancy was common a decade ago, but its use declined amidst concerns about efficacy and the potential development of resistance with monotherapy. SCART more effectively suppresses viral load (VL) but avoids unnecessary treatment post‐partum in those considered at low risk of disease progression. This is used less now the benefits of starting ART at better‐conserved CD4 counts and the risks of treatment interruption are known.Method30 women who commenced ART during a pregnancy which resulted in a live birth between 1999 and 2004 were identified from a departmental database. Women already on ART or who had previously received AZT monotherapy or SCART were excluded, as were women with less than 2 years follow up post‐partum. Outcomes included time to starting ART, CD4 count and VL on starting ART and at last follow up.Summary of results12 women received AZT monotherapy, 7 SCART and 11 continued ART post‐partum. In total there were 269 years of patient follow up (mean 9, range 2–13).









(mean)
AZT monotherapy
SCART
Continued ART




Baseline CD4
409
359
190


Baseline VL
1,950
6,799
59,566


Time to starting ART
5.2 years*
4.6 years**



CD4 on starting ART
254
178



CD4 <350 on starting ART
3/12
3/7



CD4 at last follow up
519
451
543





1 still not on ART at last follow up; **2 not on ART at last follow up.

None of the women who received AZT monotherapy or SCART experienced clinical disease progression during their time off therapy, which was considerable (mean 4–5 years). All achieved virological suppression and good CD4 recovery on commencing ART. None of the available genotypes in these patients showed resistance mutations. Of the women who continued ART, more than half modified their regimen and a significant number experienced transient VL rebounds.ConclusionsThe clinical choices made a decade ago do not appear to have been detrimental to the longer‐term treatment responses in this group of women. However, the effects of treatment interruption remain unclear and we suggest a cautious approach.

Bearing such titles as The Doctor's Visit or The Lovesick Maiden, certain seventeenth-century Dutch paintings are familiar to museum browsers: an attractive young woman-well dressed, but pale and listless-reclines in a chair, languishes in bed, or falls to the floor in a faint. Weathered crones or impish boys leer suggestively in the background. These paintings traditionally have been viewed as commentary on quack doctors or unmarried pregnant women. The first book to examine images of women and illness in the light of medical history, Perilous Chastity reveals a surprising new interpretation.In an engaging analysis enhanced by abundant illustrations-including eight pages of color plates-Laurinda S. Dixon shows how paintings reflect changing medical theories concerning women. While she illuminates a tradition stretching from antiquity to the present, she concentrates on art from the thirteenth through the eighteenth centuries, and particularly on paintings from seventeenth-century Leiden.Dixon suggests how the assumptions of a predominantly male medical establishment have influenced prevailing notions of women's social place. She traces the evolution of the belief that women's illnesses were caused by "hysteria," so named in ancient Greece after the notion that the uterus had a tendency to wander in the body. All women were considered prone to hysteria-strong emotions, idleness, intellectual activity, or unladylike pursuits could cause it-but it was most commonly diagnosed among celibates. Analyzing paintings of women's sickrooms by Jan Steen, Dirck Hals, Gabriel Metsu, Jacob Ochtervelt, Godfried Schalcken, Samuel van Hoogstraten, and Franz van Mieris, Dixon perceives metaphoric identifications of the womb as the source of illness. She also documents changing fashions in cures for hysteria and discusses allusions to the debilitating effects of women's passions not only in paintings, but also in madrigals by John Dowland and Henry Purcell.In conclusion, Dixon argues that her study has strong ramifications of attitudes towards women and illness today. She takes up images in twentieth-century culture as well and calls attention to a resurgence of female "hysteria" after World War II