#Cuéntalo [#TellIt]: Feminist voice(over) in Spanish Netflix series Cable Girls , Money Heist , and Intimacy

The tourism academy is a key site through which gender is produced, reproduced and, potentially, challenged. In this paper, we draw on Acker’s (1990) concept of gendered organisations to present a case study of a tourism department preparing to apply for an international gender equality charter-accreditation, Athena SWAN. Ketso was used as a method to try to stimulate active involvement of all staff members and breakdown traditional hierarchies within the team, and to encourage honest discussion about gender and inequality in this context. This was only partially successful, however, and we discuss how explicit focus on gender (in)equality through this process both enabled discussion of usually ignored topics and revealed entrenched gender power dynamics and structural and institutional barriers to reform. The paper illustrates both the possibilities of gender equality initiatives like Athena SWAN to highlight many of the gendered practices of tourism academia and the limitations they hold for overcoming deep-rooted gender inequality.

The feminist recovery project in francophone women’s writing is decades behind its anglophone counterpart and this book makes an important contribution to the field. Christie Margrave’s analysis of women writers’ feminist engagement with the ­Romantic vogue for natural landscape not only offers a fresh perspective on Romantic ­luminary Germaine de Staël; it also sheds light on the novels of Félicité de Genlis, Sophie ­Cottin, Barbara von Krüdener, and Adélaïde de Souza. These writers remain astonishingly under-researched, despite their considerable renown during the First Republic and First Empire, and notwithstanding vital work by scholars such as Gillian Dow, Isabelle Brouard-Arends, and Mary Seidman Trouille. Margrave illuminates the mutual influence of all five Romantic-era women and their canonical male contemporaries, demonstrating that the women reconceived fashionable landscape imagery to confront and challenge the patriarchal norms, restrictions, and prejudices which shaped the female condition and informed their writing. The subtitle, ‘exposing nature’, refers to Margrave’s analysis of natural landscapes but also to the centrality of what she calls, adapting Virginia Woolf’s famous phrase, ‘a landscape of one’s own’ (p. 1 et ­passim), a fictional topography representing the contours of women’s lived experience. Although the monograph would have benefited from a stronger feminist theoretical framework, Margrave’s work is rich in fascinating detail about the ­landscaping vogue and language of flowers, and this thorough research underpins persuasive and pivotal close readings. Occasionally, these readings are limited by her tendency to interpret the novelists’ commentary solely in terms of gender and sexual politics. In the case of Souza’s Adèle de Sénange (1794), for instance, the emphasis on gradual reform could easily be read as a political metaphor, especially in light of the recent Revolutionary Terror. On the whole, however, Margrave’s literary-critical acumen is impressive. Chapter 3, ‘Landscapes of Rebellion: Natural Madhouses’, is particularly effective, placing forensic analysis of the works of Cottin and Krüdener in the context of nineteenth-century attitudes to mental illness to demonstrate how landscapes function to portray female madness as feminist protest. Another highlight is Chapter 5, ‘Writing the Landscape: The Ossianic North and the Debate over ­Women’s Writing and Education’, which analyses Scottish landscapes as well as implicit and ekphrastic allusions to James Macpherson’s ‘Ossian’ poems in Cottin’s Malvina (1800) and Staël’s Corinne (1807). Connecting the eponymous heroines with the Ossianic female bard, Malvina, Margrave demonstrates that, even as Cottin and Staël depict ­women writers suffering social exclusion and psychological torment, they also engage in ­meta-commentary on their cultural importance. In a particularly innovative reading of Corinne, she argues convincingly that the love affair between the heroine and the British Lord Oswald models the synthesis of social independence (Corinne) and political liberty (Oswald) that could free future generations to live on terms of political and gender equality. She goes on to demonstrate that Staël depicts Corinne taking up the legacy of Ossian’s Malvina, making her the doomed prophet of this ideal. This is an insightful, valuable, and timely study bound to inform and inspire future ­scholarship in French women’s writing of the Romantic era.

Toward a Feminist Para-Ethnography:On Gender Equality Policy Making in Business Melissa S. Fisher (bio) Corporations have wrestled since the 1960s with creating equal opportunities for their employees, in the context of shifting ideas in the larger society about discrimination (Kessler-Harris 2001; Kwolek-Folland 1998; Laird 2006). From setting up affirmative action plans in the seventies to managing diversity in the eighties and placing gender discrimination at the center stage of policy making in the 1990s, businesses have developed wave upon wave of programs to improve the numbers of women and people of color in their internal ranks, especially at the most senior echelons (Dobbin 2009). More recently, however, we have seen corporations turning to address gender inequality in the global economy and developing new partnerships. Increasingly they have had to respond to stakeholder pressure—from institutional investors and others—regarding concerns about the negative effects of their activities on the status of women throughout and beyond the workplace, concerns that have only accelerated in the wake of the 2008 financial crisis. Small but growing numbers of institutional investors are engaging in what is commonly referred to as social or sustainable investing—adding the assessment of a corporation's social (e.g., human rights, women's rights), environmental, and governance performance to their traditional and exclusive focus on financial performance (Langley 2008). In 2004 Calvert Investments, a sustainable and socially responsible investing firm, in partnership with the United National Development Fund for Women (UNIFEM), launched the ground-breaking Calvert Women's Principles®: the First Global Code of Corporate Conduct; it focused exclusively on empowering, advancing, and investing [End Page 1] in women worldwide. Today the Calvert Women's Principles form the foundation of two key initiatives that are affecting women around the world: the Gender Equalities Principles (GEP) and the Women's Empowerment Principles (WEP).1 Both the WEP and GEP provide tools and assessment practices for corporations to evaluate and implement gender equality principles in key areas, including employment and compensation; health, safety, and freedom from violence; and civic and community engagement. Several hundred top executives of major companies have now signed a CEO statement in support of the WEP. Once a year corporate leaders, consultants, and academics as well as representatives of NGOS, state, agencies, and international organizations convene in New York City to discuss how corporate behavior and practices are being transformed to align with the Women's Empowerment Principles. In doing so these companies are engaging in what is commonly referred to as "gender mainstreaming"—putting gender and the goal of gender equality in the center of all of their policy areas (Page 2011). Leaders of these initiatives contend that adopting these policies is good for corporations' "bottom line." Here they seek to enact a form of market feminism, aligning liberal feminist ideals about gender equity with the logic of the market (Fisher 2012; Kantola and Squires, forthcoming). Drawing on nearly two decades of research—fieldwork with the first generation of women on Wall Street, consulting work as a business anthropologist, and participation in conferences on the WEP—I have come to identify gender equality initiatives, such as the WEP and GEP, as key sites within a new global policymaking arena.2 Specifically, I am arguing that we are witnessing the emergence of a global gender mainstreaming policy field, composed of sometimes overlapping assemblages of local, national, and transnational organizations, partnerships, and subjects. Gender equity initiatives like the WEP and GEP are thus an ethos and set of social and technological practices embedded in an intricate network of institutions, investments, and people. They are a kind of "social imaginary" of the relationships among institutions, structures of meaning, gender, and power, and practices in the global economy. As such I see gender mainstreaming initiatives not only as part of the broader corporate social and sustainability movement but also as an important part of the larger global women's movement, which is itself an "expansive, polycentric, heterogeneous discursive [End Page 2] field of action" composed of national and transnational feminist networks (sometimes aligned though often fragmented) that drive forward gender equality demands (Kantola and Squires, forthcoming: 8). In this article I discuss the challenges of studying...

This article maps an emerging engagement with intersections amongst gender, voice/sound and feminism in the context of contemporary Spanish audio-visual cultural production. I locate the voice at the nexus of contemporary feminisms as these manifest through popular, public and theoretical means. Taking two recent internationally successful Spanish series (Vis a vis [Locked Up] and La casa de papel [Money Heist]) as examples, I contend that female voices and their treatment within contemporary Spanish audio-visual cultures constitute an important site within which female subjectivities emerge and are claimed. I analyse the importance of gender representations on- and off-screen in these works and attend to the use of music and voice-over in these shows as exemplifying the contradictory character of the voice within contemporary feminisms, both in and beyond Spain.

Feminist engagement in education policy in Australia has been extensive and impactful, with periods of high activity and influence in the past through to a present where it seems difficult to find feminist voices in policy spaces. There are diverse perspectives on the earlier decades of feminist policy influence that shift according to context, the social and political milieus of each moment, location, and position within the policy assemblage. In this paper I focus on the era of the mid 1990s, and the national policy Gender Equity: A Framework for Australian Schools (1997) as a case of policy emergence, mutation and dissipation. Drawing on my own recollections and interviews with eleven policy actors who were variously involved in the gender and education policy work around that time, I explore processes, strategies, obstacles and affordances of the times through four types of trouble: policy trouble, patriarchal trouble, school trouble, and genders and sexualities trouble. I offer these as refractory accounts of feminist policy work, that might break through linear accounts and add further nuance and context to our revisiting of feminism in education.

The papers in this special section of feminists@law represent an attempt to acquaint an English speaking audience with some of the key issues currently occupying Swedish feminist legal scholars. The idea is to allow the reader to catch some revealing glimpses of the workings of the Swedish feminist legal mind in the context of gender equality law. It aims to promote an understanding of specifics of the feminist engagement with and critique of Swedish gender equality law and policy through contributors’ discussions of major themes of western feminism - motherhood, labour, immigration, disability and sexual exploitation.

The exploration of conceptual equivalence within the process of the cross-cultural adaptation of tools is usually neglected as it generally assumed that the theoretical construct of a tool is conceptualized in the same way in both the original and target culture. This article attempts to throw light on the contribution of the evaluation of conceptual equivalence to the process of adaptation, and for tool development. To illustrate this premise, the example of the cross-cultural adaptation of the Patients' Perception of Feeling Known by their Nurses (PPFKN) Scale is presented. An adapted version of the Sousa and Rojjanasrirat (Journal of Evaluation in Clinical Practice, 2011, 17(2), 268-274) guidelines was used to translate and culturally adapt the PPFKN Scale to Spanish language and culture. A qualitative descriptive study was added to the traditional process of translation and pilot study to explore the concept in the target culture and recognize conceptual equivalence. Experts in the tool concept, bilingual translators and the author of the tool participated in the translation of the original tool into Spanish. A pilot study of the Spanish version with a sample of 44 patients and a panel of six experts from different fields evaluated its clarity and relevance. In addition, seven patients participated in a descriptive qualitative study using semi-structured individual interviews to explore the phenomenon in the new culture. A content analysis following the Miles, Huberman & Saldaña (Qualitative data analysis, a methods sourcebook, 2014) approach was used to analyze qualitative data. The cross-cultural translation and adaptation of the PPFKN scale into Spanish required a thorough revision. More than half of the items needed discussions to reach consensus regarding the most appropriate Spanish term. In addition, the study confirmed the four attributes of the concept identified in the American context and allowed for new insights within those attributes to appear. Those aspects reflected characteristics of the phenomenon of being known in the Spanish context and were added to the tool in the format of 10 new items. A comprehensive cross-cultural adaptation of tools should incorporate, together with the study of linguistic and semantic equivalence, the analysis of the conceptual equivalence of the phenomenon in both contexts. The identification, acknowledgment and study of the conceptual differences between two cultures in relation to a phenomenon becomes an opportunity for deeper study of the phenomenon in both cultures, for understanding of their richness and depth, and for the proposal of changes that may enhance the content validity of the tool. The evaluation of conceptual equivalence of tools within the process of cross-cultural adaptation will make it possible for target cultures to rely on tools both theoretically sound and significant. Specifically, the cross-cultural adaptation of the PPFKN scale has facilitated the design of a Spanish version of the tool that is linguistically, semantically and theoretically congruent with Spanish culture. The PPFKN Scale is a powerful indicator that evidences nursing care contribution to the patient's experience.

An underlying premise of a ‘democracy’ is that a sense of well-being exists for the individuals who mate up that democracy. In South Africa the more popular meaning of a developing democracy is a Constitution that protects people from discrimination on the basis of, among other factors, race, gender, sexual orientation, disability, class and religion. Despite this progressive Constitution, the torture, rape and murder of black lesbians who live in South Africa's townships suggests that there is a lack of tolerance for persons who do not conform to particular and limiting ideas about gender and sexuality; ideas that are rooted in binaries of what constitutes acceptable femininities and masculinities. The intention in this Focus is to reflect how this specific form of heterosexist violence is not isolated to ‘black township men inflicting violence on black lesbian township women’. Rather, this violence should be understood as centrally located within heteronormative' values, reinforced and reconstructed through a variety of state and media discourses that dominate the public sphere in South Africa. Unlike advocates of the State and mainstream media, feminist voices on the subject are predominantly situated outside of the public consciousness. Through a feminist engagement with some of these discourses I wish to motivate how heterosexist violence against gender non-conforming women in black townships becomes acceptable.

Nego‐Feminism: Theorizing, Practicing, and Pruning Africa’s Way

Under the title of Challenges in a Hostile Scenario, this chapter addresses the socio-political conditions in which communication occurs, delving into the perverse synergies between three major threats facing Western democracies: polarisation, disinformation, and the rise of populism. This section combines the theoretical and empirical approach to the three concepts on which it pivots, based on a bibliographic review and a survey that takes the pulse and delves into the perception of citizens. The first part of the chapter focuses on the dynamics of populism and polarisation, considering socio-political trends in the international context and how they manifest within the Spanish context. Through the survey, both dimensions have been tested, based on the positioning of citizens in response to a series of statements. These responses allow us to observe both social fractures and support for certain populist attitudes concerning representatives of various powers, including the political class, financial sectors, the media, and international organisations. The responses of 1200 individuals, representative of Spanish society, also allow us to identify the main fault lines around significant social issues such as national identity, gender equality, immigration, climate change, and housing. The second part of the chapter focuses on disinformation, offering a detailed analysis of this phenomenon within the Spanish context. Based on public responses, an overview is provided of how citizens perceive the problem of disinformation, the sources they attribute to the origin of false content, how they act when such content is detected, and what measures receive public support in combating it. The results provide a comprehensive picture of this phenomenon and potential solutions to address it.

The main aim of this chapter is to explore female voice(s) in curriculum making and dissemination from a gendered perspective. Subsequently, it seeks to examine the relationship between the creation and dissemination of knowledge in South African classrooms. Characterised by male centric education, construction, and dissemination of knowledge, the notion of progressive feminism was absent in the policy documents, teaching plans, and enactment of the homogenised curriculum. Consequently, marginalisation of female voices was a result. In light of this problem, this chapter is particularly concerned with analysing females situated and manifested voice within frameworks of power dynamics related to the definition of a woman’s place within the school culture. Female narratives are explored and analysed to interrogate their experiences both inside and outside the classroom. In this chapter, the notion of voice is adopted from theorists of feminist pedagogies, Belenky et al. (1986) who explore “women’s ways of knowing through the examination of five different perspectives” which contribute to the ways that women understand reality and form conclusions about truth, knowledge, and authority. Situated in a shifting educational landscape, female teachers draw experiences from various, social, economic, and cultural backgrounds they find themselves homogenised in the midst of personal, political, and intellectual changes. Therefore, they struggle to transition from historic constructions of their roles to develop voice in both the metaphoric and literal sense.

At the end of the Introduction,Evansobserves, 'The filmsunder discussionhere provide some of the most fruitfulopportunitiesfor revisiting and theorizing postI95os Spain and its evolving, relatively recent cinema history' (p. 6). I would add that the study of these films and our reading of the volume as a whole constitute a collective attempt to understandhow Spanishfilms representSpain as if in a twoway mirror,in which both the reflectionsand the reflectingdevices are the objects of study. POMONACOLLEGE, CALIFORNIA MARIA DONAPETRY FeministDiscourseand Spanish Cinema: Sight Unseen. By SUSANMARTIN-MARQUEZ. (Oxford Hispanic Studies) Oxford and New York:Oxford University Press. I999. 322 pp. ?40Although it concentrates on a limited number of films and directors, and is motivated by the need to show in full detailwhat has for long been missed (unseen) in Spanish cinema, Susan Martin-Marquez'sbook is a wide-ranging revisionary project, discerning 'a feminist voice throughout the history of sound cinema in Spain' (p. 29I). The detailing is as meticulous and exciting as it is necessary and salutary:a panoramic approachwould surelynot only have riskedmimickingnonsubversivelythe several list-based histories penned by men so far in the field of Spanish cinema but also muffledthat 'voice'. Key texts of feminist film theory are deftly summarized and their ideas, misconceptions, and mismatches with Spanish contexts illuminatinglyplaced in the argument,often side by side with the richesof textual archive work (dismissive reviews, snatches of gender-blind histories, the many voices of patriarchal power behind desks). Feminist practice, whether in production, promotion, or reception, is emphasized, revealed, or hypothesized in relationto exemplaryclose scrutinyof women's creativity,power, andperformance acrossa range of phenomena from cameramoves to careermoves. Each element of this study is firmly set in social, national, and industrial contexts. In Part One, Rosario Pi, as star-makerand director in the I930S,intervenes in power struggles between Spain and the USA, and between the female subject(as creative artist,as character,or as performer)and dominant, patriarchaland nationalisticdiscourses. Ana Mariscal, as a starin the I940s and I950s, is the Francoistfeminine ideal who in her life and in her banned novel Hombres (reissued in I992) finds conformity difficult and whose performances reveal counter-discourses, contradictions, slippages ; subsequently,as a director, she is both an astute claimant of supposedmale terrain and much more complex and varied in her output of ten features than historyhas allowed:Segundo Ldpez, aventurero urbano (1952)has self-consciousqualities which Martin-Marquezuses to point up Mariscal'spromotion of the awarenessof the constructednessboth of gender and filmunder Franco,and to demonstratehow in El camino (1963) Delibes is ousted by strongself-authorizinggesturesand shiftsof emphasis (particularlytowards the view of provincial life as less an affirmationof Spanishness,more a sustainedsurrenderto scopophiliacpleasureand perversions). PilarMiro is the thirdof the exemplaryhistoricalfiguresand the most likelyto have been 'seen' in Martin-Marquez'ssense:there is an intricatestudy of Mir6's career and its contradictions(overlappingat times with existing but unpublishedworkby Jayne Hamilton) centredon a stimulatinganalysisof'the reversalof[... ] gendered cinematic norms' (p. 154) in El crimen de Cuenca and of sound, corporeality, and image in Gary Cooper, queestds enloscielos (again,studiedin some detailby Hamilton). Of particularinterestis the use of Kaja Silvermanon dissonance and dislocationto focus on agency and on alternative, resistant interpretation (although in the At the end of the Introduction,Evansobserves, 'The filmsunder discussionhere provide some of the most fruitfulopportunitiesfor revisiting and theorizing postI95os Spain and its evolving, relatively recent cinema history' (p. 6). I would add that the study of these films and our reading of the volume as a whole constitute a collective attempt to understandhow Spanishfilms representSpain as if in a twoway mirror,in which both the reflectionsand the reflectingdevices are the objects of study. POMONACOLLEGE, CALIFORNIA MARIA DONAPETRY FeministDiscourseand Spanish Cinema: Sight Unseen. By SUSANMARTIN-MARQUEZ. (Oxford Hispanic Studies) Oxford and New York:Oxford University Press. I999. 322 pp. ?40Although it concentrates on a limited number of films and directors, and is motivated by the need to show in full detailwhat has for long been missed (unseen) in Spanish cinema, Susan Martin-Marquez'sbook is a wide-ranging revisionary project, discerning 'a feminist voice throughout the history of sound cinema in Spain' (p. 29I). The detailing is as meticulous and exciting as it is necessary and salutary:a panoramic...

Reviewed by: Declarations of Independence: Empowered Girls in Young Adult Literature, 1990-20012 Lissa Paul (bio) Declarations of Independence: Empowered Girls in Young Adult Literature, 1990-20012. By Joanne Brown and Nancy St. Clair. Lanham, MD: Scarecrow, 2002 It is always a struggle to focus on what the book does, rather than what it doesn't do, or what as a reviewer, I would have liked it to have done. Declarations of Independence: Empowered Girls in Young Adult Literature 1990-2001 does what it says it does. It provides a checklist of books with girls who at one time might have been described as spunky heroines (a term favored by older generations of critics), but who are described here as "empowered" by the authors, Joanne Brown and Nancy St. Clair. Careful and narrowly explicit in their definitions, the authors acknowledge that because adolescent fiction generally is about "autonomy or self-reliance," definitions of "empowered girls" must be scrupulously explicit (26). As a general backdrop for their definitions of empowerment, Brown and St. Clair appear to like The Voyage In: Fictions of Female Development, an edited collection of good, but oldish (1983) essays. Empowered girls, say Brown and St. Clair, are those who "find strength by valuing positive feminine characteristics instead of striving to be competitive, assertive and powerful," and those who gain "confidence in themselves" rather than "power over others" (27). The book then proceeds to examine these characteristics in the female protagonists of Young Adult (YA) books published since 1990. The chapters tidily classify the novels by genre: historical fiction, contemporary world, literature of the fantastic, and memoir. Each chapter then provides a brief introduction outlining particular characteristics of the genre (social realism in the chapter on contemporary literature, science fiction in the chapter on literature of the fantastic), then proceeds into extensive plot summaries of selected texts, tipping toward analysis in terms of empowerment. Each chapter also contains an additional bibliography with suggestions for further reading. That's what is in the book. If you are a teacher of children in middle school, or perhaps high school, then you will probably find Declarations of Independence useful. It will give you access to books you might want to have in your classroom, books that are likely to conform to your school district guidelines advocating positive female role-models or gender equity in books selected for use in language arts programs. You will also have access to some theoretical material on feminist theory, though it tends to be classic-Carolyn Heilbrun's Reinventing Womanhood (1979), for example, or Carol Gilligan's In a Different Voice (1982)-but dated. In the interests of full disclosure, it is probably worth saying that an early and still frequently cited article of mine, "Enigma Variations" (1987), is referred to here, too, but the authors would have found that I'd developed a more nuanced version of feminist criticism in Reading Otherways (1998)-and I wish they had turned to that instead. And although the authors do cite one recent critical book on feminist theory and children's literature, Waking Sleeping Beauty: Feminist Voices in Children's Literature, they don't convey its theoretical insight or energy. The version of feminist theory advocated in Declarations of Independence feels out of fashion, even dowdy, in the context of literary criticism as worn in university English departments, but it is exactly the kind of simplistic approach that suits the style of Education faculties as well as provincial or state departments of education. The term "empowerment" is itself the giveaway, insisting as it does on action over both passivity and passion. Like it or not, empowerment defines itself as a "male-order" term, one that, despite claims to the contrary, highlights the value of being on top and in control-and so only tends to reinscribe the privileging of a masculine obsession with power. Attention concentrated on power as a basic tenet of feminist theory was abandoned by feminist scholars long ago in favor of something more varied, more fluid, more negotiated. As a reviewer, I know I'm now moving into awkward territory, because I'm shifting the discussion from [End Page 170] what the authors have...

Social media platforms are revolutionizing the way users communicate by increasing the exposure to highly stigmatized issues in the society. Feminism is one such topic that recently took over social media. This paper studies the attributes of XiaoHongShu user toward the feminism related topics, by content analysis of the online posts via #Barbie on XiaoHongShu, a sharing platform. The findings show that majority of XiaoHongShu user have positive attitudes to feminism-related topics in Barbie movie by analyzing the posts and comments are shared on this platform. Besides, XiaoHongShu commentators are mainly focused on eleven topics related to feminism: gender consciousness and self-perception, gender equality and affirmative action, gender discrimination, gender violence, gender roles, body perception and self-confidence, gender image, gender economics, female autonomy, female bonds and friendship and others. This research indicated that social media platforms have proven to be fertile ground for movements such as feminism, facilitating the dissemination of perspectives and the fostering of dialogue.

This paper explores the multifaceted feminist themes woven throughout Jane Austen's novels. It delves into how Austen, a product of the Enlightenment era, critiques the societal constraints placed upon women in Regency England. Through witty dialogue and social commentary, Austen exposes the limitations on female agency, particularly regarding marriage, property ownership, and self-determination. The paper utilizes in-depth analysis to trace the evolution of Austen's feminist voice across her works. It unveils her subtle yet powerful critiques of patriarchal structures, highlighting the intersection of power and privilege within Austen's narratives. Furthermore, it emphasizes the importance of intersectionality in understanding the diverse experiences of women within her novels, acknowledging the impact of class and social status on their struggles. Finally, the paper underscores Austen's enduring legacy as a pioneering feminist voice. Her timeless novels continue to resonate with contemporary readers, sparking discussions about gender equality, female agency, and the fight for social change. Austen's work serves as a bridge between Enlightenment ideals and modern feminist discourse, solidifying her position as a literary icon whose influence transcends generations.