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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarized landscapes out of domestic spaces commonly overcoded by gendered systems of representation, including the kitchen, the home, and the garden. Furthermore, each film offered alternative forms for articulating women's subjectivity that challenged the roles made available to them during the 1960s. Through close readings of Wieland's film Water Sark (1965), Schneemann's film Plumb Line (1968–71), and Nelson's film My Name Is Oona (1969), the article demonstrates how each artist advanced a critical politics through sound-image dissonance.

AbstractThe specialty coffee industry emphasizes the importance of personal relationships that span disparate levels of the supply chain and production models that focus on the wellbeing of coffee producers. This emphasis presents specialty coffee as a socially progressive form of consumption that is often represented as superior to mass-produced coffee. Discourses that emphasize relationships between baristas and professionals at other levels of the supply chain serve as a tool in marketing specialty coffee, with baristas serving as an interface between consumers and other levels of the supply chain. The somewhat recent elevation of baristas to professional status is due, in part, to the growth of barista competitions. This article takes barista competitions as a context for analysis, highlighting how baristas incorporate voices from across the supply chain into their competition performances. I argue that in voicing individuals from across the supply chain, baristas draw on the expertise and authority represented by coffee farmers and roasters to support the development of their own authentic professional persona. This article also shows that, by voicing the supply chain, baristas respond to consumer desires for more ethical forms of consumption through these narratives, providing the moral and emotional experience of coffee that consumers crave.

A review of Frank Gurrmanamana, Les Hiatt and Kim McKenzie with Betty Ngurraban-Gurraba, Betty Meehan and Rhys Jones's People of the Rivermouth: The Joborr Texts of Frank Gurrmanamana (National Museum of Australia and Aboriginal Studies Press, Canberra, 2002).The concept of postcolonialism, and an Australian postcolonial literature specifically, is fraught with problems. The least of these is the reality of this country not yet being fully free from its British colonial inheritance, let alone from ongoing internal colonialism. Even so, postcolonialism is still a useful term to define a body of (particularly Indigenous) literature produced over the last thirty years. Keeping the irony in mind, Australia's virtual postcolonial literature has been gaining increasing prominence, providing fertile ground for the political promise that one day may be realised as a state of actual Australian postcoloniality of sorts. In the meantime, the postcolonial movement desired and reinforced by the literature continues to gather momentum. People of the Rivermouth, a recent addition to the Australian anthropological corpus, initiates what looks like a promising future for postcolonial ethnographies; yet it too has some problems. While the book claims that it is 'arguably the most comprehensive work ever produced on a single Australian Aboriginal group', in effect presenting itself as an ethnography of the highest order, the main component of the work—the Joborr texts—are, I believe, somewhat more aligned to what Eric Michaels once described as 'para-ethnography': a story that transcends itself into a kind of incidental ethnography.

Using feminist deconstructive strategies, this paper exposes some of the rhetorical and cultural conditions that have sustained the organizational leadership literature as a seductive game. The juxtaposition of 'leadership' and 'seduction' functions as the focus of analysis for understanding the cultural limits of know ledge at times when innovations in theory and research are expected, but do not seem to be happening. Through various analytical approaches, the paper creates 'reading effects' that may be unsettling for the community of organizational scholars. This opens different spaces for reflecting upon and arguing against the closure imposed by organizational research and theory on what can be said to be organizational knowledge.

Introduction: Voicing Demands: Feminist Activism in Transitional Contexts / Sohela Nazneen and Maheen Sultan -- 1. Well-Chosen Compromises? Feminists Legitimizing Voice in Bangladesh / Sohela Nazneen and Maheen Sultan -- 2. Feminisms in Brazil: Voicing and Channelling Women's Diverse Demands / Cecilia M.B. Sardenberg and Ana Alice Alcantara Costa -- 3. The South African Revolution: Protracted or Postponed? / Gertrude Fester -- 4. Voicing Autonomy through Citizenship: The Regional Nationality Campaign and Morocco / Alexandra Pittman and Rabéa Naciri -- 5. Motivated by Dictatorship, Muted by Democracy: Articulating Women's Rights in Pakistan / Afiya Shehrbano Zia -- 6. Feminist Voices and the Regulation, Islamization and Quango-ization of Women's Activism in Mubarak's Egypt / Mariz Tadros -- 7. The Many Faces of Feminism: Palestinian Women's Movements Finding a Voice / Elieen Kuttab.