Comparative study of sustainable and non-sustainable interventions in technology development and transfer to the women’s vegetable gardens in the Gambia

In the Gambia numerous projects have been implemented to boost vegetable production. A survey was conducted in Kanifing Municipality and Western Division of the Gambia to determine the level of technology development and transfer. The result shows that the total membership of the intervention sites is 726 and 1,115 growers in the non-intervention sites respectively. From the survey 92% of farmers considered variety improvement as a priority area for technology development. The result indicated that 45% of the respondents regard that 80% of technologies comes research and farmers and 90% of technology dissemination to farmers is through the public extension system, and 20% of respondents mentioned farmer groups. The aim of this study was therefore to examine acquisition, technology development, and transfer to farmers and to come with appropriate strategies of technology transfer in The Gambia in the areas of production and marketing of vegetables.      

民族地区老年妇女文化参与意识及其制约因素——试以浙西南畲族为例

本文以浙西南畲族为例,分析畲族农村老年妇女文化参与现状及其制约因素,认为女性自身、公共政策和社会变迁等是制约民族地区老年妇女社会参与的主要因素。在民族文化意识出现淡化迹象的背景下,本文主要关注老年妇女的文化参与和民族历史文化发展、传承之间的关系,并从赋权政策、公共政策等视角提出相关的对策与建议。     

惠安女服饰文化初探

惠安女是福建沿海惠东族群的女性,特殊的自然环境和人文历史造就了惠安女奇特的服饰,本文将具体论述惠安女服饰的基本形制和审美,并对其形成的原因作初步的探索,并结合现实分析惠安女服饰的传承现状。     

Room of One's Own: 1920s Feminist Utopias

Virginia Woolf's aspiration in A Room of One's Own (1929) for a private space and independence for the 'uneducated' women who would write fiction was echoed in Jipping Street (1928), the fictional autobiography of the working-class Kathleen Woodward, as well as by numerous other women during the period. This article asks why this wish for a room emerged in the twenties, and what is shows about the political affect of feminism at that time. One of the effects of post-suffrage feminism was that working-class women's experience began to be not only observed but listened to, written down and published, but real changes in the legal and economic position of women only came slowly. Both Woolf's polemic and Woodward's fictional autobiography are diatribes against poverty and laments for women's wasted lives. Neither idealized suffering; poverty in their texts was an injustice that aroused anger, not a state of abjection or redemption which required an anguished identification. When these two books were published, just after women's suffrage was achieved, hopes were high. The thirties were a more brutal decade, with unemployment and the growth of fascism, and Woolf's Three Guineas (1938) is darker in tone. Neither Woolf nor Woodward had faith in conventional politics. Instead both writers chose silence, solitude and the aesthetic seduction of words and thoughts. Neither wanted to enter the world of men, but nor did they want to live lives like their mothers. Both these books require of women an inner change. The room represents a transitional space. There was no clear vision of the future yet. As so often with feminist thought, the wish is for a break with the past, a resistance to culture and a change in human nature.     

Frayed Connections,Fraught Projections: The Troubling Work of Shirin Neshat

Moore discusses the work of visual artist Shirin Neshat exhibited at the Serpentine Gallery, London, from July to September 2000, which comprised the photographic series Women of Allah and the video installation trilogy Turbulent, Rapture and Fervor . Her emphasis is on the way in which Neshat's work addresses the critical issues of positioning, representation and cross-cultural reception. The exhibition was marketed as referring to 'the social, cultural, and religious codes of Muslim societies in general, and Iranian society in particular'. Moore argues, however, that the images tend to project a departicularized cultural context that encourages a neo-orientalist interpretation. She first analyses Women of Allah in terms of symbolic projections of womanhood during the Islamic revolution in Iran and in light of post-revolutionary gendered realities. A critique is also mounted of Neshat'snostalgic self-investment in the revolutionary scene. In a discussion of the later video trilogy, Moore disentangles gendered and cross-cultural binaries in order to theorize the space between the dual screens. Her conclusion is that this intermediate space figures the ambivalence of a displaced cultural perspective. As such, it forces a spectatorial enactment of the frayed or troubled connections that the artist makes between two cultural locales.     

Are Women Peaceful? Reflections on the Role of Women in Peace-Building

This paper examines the way that women’s relationship to peace is constructed in international institutions and international law. It identifies a set of claims about women and peace that are typically made and considers these in light of women’s experience in the conflicts in Bougainville, East Timor and the Solomon Islands.

Is the Ceiling Truly Glass or Something More Variable?

Women advance more rapidly in the appointive executive and judicial branches than in the elected legislative branch at both national and state levels. Demand side and supply side factors explain much of this. In particular, greater male variability restricts the opportunity for gender equity.

粤东侨乡传统妇女的生活状况——以丰顺县留隍镇为中心的调查与分析

粤东丰顺县历史上存在不少妇女集体投江自杀的现象。留隍妇女集体投江自杀之风从清代中后期始,历经民国,一直持续到建国初期。经济上普遍贫困、生产与家务劳动方面极度劳累,以及已婚妇女在家庭的地位低下、婚姻方面极度不自由是集体投江自杀的主要原因。此外,该地存在着的多种形式畸形婚姻、家庭生活中家婆权力很大,也与传统妇女集体自杀现象有较直接的关系。     

20世纪前后粤东留隍地区妇女集体投江与侨乡社会

田野调查资料表明20世纪前后粤东留隍地区的妇女集体投江事件既不是无中生有,也不像方志那么浮夸,更不是经过地方长官的祭祀便销声匿迹,这种恶性事件间歇性地发生着,表现出社会结构的极端张力。大批男性下南洋谋生导致留隍社会性别、职业、家庭结构的失衡,加上社会减压机制的缺失使得留隍妇女无法承受这些压力从而走向不归路。     

How to be a Girl: Consumerism Meets Guidance in the Australian Women’s Weekly’s Teen Segments, 1952–1959

In 1952, when Australian teenagers were beginning to emerge as their own distinct social and consumer group, the Australian Women’s Weekly introduced a column specifically targeted at teens. “Youth Sums Up” was intended for both boys and girls, but by 1954 it had developed into For Teenagers, a monthly lift-out aimed predominantly at girls, which became Australia’s first version of a national teen girl magazine. In this article, I examine the ways in which the Weekly used its teen segments and lift-outs to mould teenage girls into the 1950s feminine ideal, and to sell the products that reflected the attitudes and values of the time to this new and powerful young market. I also demonstrate that while the Weekly’s teen segments promoted a traditional femininity, some of its teen girl readers publicly rejected these notions within the pages of the magazine, giving us a broader understanding of teenage girls, girl culture, and what is usually defined as a purely conservative decade.