Revolutionary Spaces: Photographs of Working-Class Women by Esther Bubley 1940-1943

This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States. Third, by looking at her images of women, my intention was to reveal how she worked against depictions of femininity during the Depression, and in confrontation with one-dimensional portrayals of women as America entered the Second World War. In conclusion, I contend that Bubley's images were fundamentally portrayals of working-class femininity represented as being an individual - rather than a symbolic - experience. Most specifically in the images I have examined, Bubley deconstructs an ideological image of female working-class identity which was central to documentary photography in 1930s America. For example, unlike in photographs by Dorothea Lange, Bubley did not portray working-class women as metaphoric sites of passive endurance which would eventually lead to the rejuvenation of American nationalism. Rather, she showed working-class women to be potentially subversive in the ways they defined themselves against the legacy of 1930s photography and in opposition to the ideological impositions of wartime propaganda. As a result, Bubley's images of working-class women waiting in bars for lonely soldiers, or looking for a future beyond the confines of their boarding house existences while remaining outside the middle-class boundaries defined by capitalist consumerism, set out a pictorial foundation for working-class female identity which exists beyond the context in which the photographs were taken. Consequently, Bubley's work highlights individual self-identity, personal empowerment and self-conscious desire in working-class women which was - and still is - confined and repressed by economic disadvantage and systematic marginalization from an American society defined from a middle-class point of view.     

Beyond division: Women,pilgrimage and nation building in South Asian Sufism

Unlike other religious movements, Sufi orders rarely preach ideologies of either nationalism or religious nationalism. Sufi annual pilgrimages and festivals are open and inclusive: they cut across provincial and even national borders. They gather followers traversing vast distances across the entire country to the order's centre. This feature of movement in and across space, and of gendered, ethnic, regional and caste mixing, the paper argues, creates networks of devotees criss-crossing Pakistan, connecting villages, workplaces and large organisations. Pilgrims come together in amity, and in doing so create the grounds for nation building. Women take an active part in these pilgrimages and celebrations, and visit the lodge as supplicants seeking help for a variety of afflictions. In connecting people and spaces across the whole of Pakistan, rich and poor, men and women, Punjabis, Sindhis, Pathans, Baluchis and Muhajirs, Sufi orders thus reach out beyond the local to create the performative and embodied experience of moral relations between strangers, arguably the essential pre-condition and grounds of nationhood, without explicitly articulating ideologies of nationalism or of a global ummah.     

不断探索开发区女职工工作的有效途径

开发区女职工工作 ,只有纳入工会总体工作中才能不断探索出有效途径。威海市开发区总工会女职工委员会采取“同步”与“联动”的工作方法 ,开展组建与维权工作 ,取得明显效果。     

Darning, doylies and dancing: the work of the Leeds Association of Girls' Clubs (1904-1913)

The Leeds Association of Girls' Clubs (LAGC) was set up by a group of women, including Hilda Hargrove, Dr Lucy Buckley and Mary and Margaret Harvey, to promote collaboration between the city's girls' clubs. The organisation epitomised women working in partnership whilst reflecting their differing philanthropic and political interests. However LAGC's collaborative approach resulted in liberal consensus which downplayed the significance of girls' working conditions. Throughout the decade LAGC's focus was its annual competitions. These featured utilitarian and decorative handicrafts (darning and doylies) enshrining both frugality and aspiration, alongside dance and drill which channelled girls' vigour. Nevertheless, LAGC's resilience resulted in an organisation which is still in existence.     

Sketching Women in Court: The Visual Construction of Co-accused Women in Court Drawings

This paper explores the visual construction and representation of co-accused women offenders in court drawings. It utilises three case studies of female co-defendants who appeared in the England and Wales court system between 2003 and 2013. In doing so this paper falls into three parts. The first part considers the emergence of the sub-discipline, visual criminology and examines what is known about the visual representation of female offenders. The second part presents the findings of an empirical investigation, which involved engaging in a critical, reflexive visual analysis of a selection of court drawings of three female co-offenders. The third part discusses the ways in which the court artists' interpretation, the conventions of court sketching, and motifs of female offenders as secondary actors, drew on existing myths and prejudices by representing the women as listening, remorseless ‘others’.