Gender Boundaries Research Articles

Queering Mennonite Literature: Archives, Activism, and the Search for Community

Queering Mennonite Literature: Archives, Activism, and the Search for Community

Gendered heritage on Smith Island: the taste of things and comic relief

This article examines the subject of women’s knowledge in a small fishing community on Smith Island, Maryland in the U.S. I discuss this how fluid gender division of knowledge relates to life on a small island, and how it also lends itself to a certain social cohesion. Between women. I focus on this gender cohesion, as I explore the rituals of Smith Island women, framing my discussion around the annual event known as the Ladies Dinner. By following the structure of a particular gender-specific celebration, I not only discuss solidarity in women’s agency, but also offer an in-depth analysis of the satirical skits performed on stage, showing a double figure elicited through the technique of comic inversion. In my analysis of the comedic parodies presented, I further discuss the playful and fluid nature of such engagements and the subversions of gender, which women use when they are confronted with perceived gender boundaries. This article shows how deeply Smith Island women embrace their collective life and reveals their strategies for reinventing their multilevel knowledge in the face of a changing socioecology.

Ancestralidade e identidade em Negrum3 - Uma pedagogia negra acerca de gênero e de sexualidade

Black Brazilian Cinema is a concept that affirms the presence and the black culture in cinema since the arrival of the first literate slaves in Brazil, at the same time that it questions the structure of cultural and knowledge production. In this article, we seek a pedagogical approach to black cinema. The objective is to work with the universe of meanings and discourses existing in the film NEGRUM3 (2018), by the filmmaker Diego Paulino. We consider that ancestry, converted into an analytical category, is a key concept to understand the discourse present in the analyzed film, in which it becomes evident the need to establish a dialogue with the African past, in an attempt to resignify the boundaries of gender and sexuality for Afrodiasporic populations in the present and in the future. In this sense, we analyze the film considering the concept of Pretagogia that values the body and the orality, as a producer of black epistemology and identity. We establish dialogues with black authors/authors and carry out an analysis that considers the film as an artistic work that grounds meanings in narrative structures by means of filmic, visual and sound apparatuses. Our article demarcates the pedagogical character of Brazilian Black Cinema and demonstrates how it can make paradigmatic changes through the way it portrays certain themes, making possible the reconstitution of black history and the establishment of a pedagogy of hope.

A Discussion of <i>Mr. Housewife</i> in Relation to the Social Construction of Masculinity in South Korean Society

This article discusses the socially constructed notion of Korean masculinity by examining Yoo Sun-Dong’s Mr. Housewife (Miseuteo Jubu Kwizeuwang, 2005). By regarding masculinity as a value or ‘place’ that one can obtain through practices rather than as a fixed identity, this article takes the view that masculinity is also dependent on adopting culturally specific practices and roles. Yoo Sun-Dong’s film presents a male positioning himself as a housewife, giving the audience a different perspective outside the social construction of rigid gender boundaries. Through critical discourse analysis, the article discusses three themes of narrative: non-hegemonic nurturer masculinity, home as woman’s place to rest, and context-bound female masculinity/emphasised femininity. It is argued that Jin-Man’s Korean masculinity is different not only from the soft kkonminam masculinities, but also other domestic masculinities reflected in the media, both in terms of his relationship with the female gender and divergence from hegemonic masculinity. The film also successfully subverts the conception of the home as ‘a place to rest’ which became a new way to rationalise gender segregation in modern South Korea.

Julia Wedgwood, the Unexpected Victorian: The Life and Writing of a Remarkable Female Intellectual by Sue Brown

Reviewed by: Julia Wedgwood, the Unexpected Victorian: The Life and Writing of a Remarkable Female Intellectual by Sue Brown Mercedes Sheldon (bio) Sue Brown, Julia Wedgwood, the Unexpected Victorian: The Life and Writing of a Remarkable Female Intellectual (London: Anthem Press, 2022), pp. viii + 384, $150/ £100 hardcover. Born into the newly prominent Wedgwood family, Julia Wedgwood (1833–1913) grew up surrounded by such nineteenth-century intellectuals as her uncle Charles Darwin, Harriet Martineau, Jane Carlyle, and Charles Kingsley, among others. After her father discouraged her burgeoning career as a novelist, Wedgwood undertook what became a financially successful career as a periodical essayist, nonfiction reviewer, and profile writer. In the mid-1880s, she also wrote reviews of contemporary fiction. Her work ignored gendered boundaries, covering philosophy, theology, natural history, and the classics. Sue Brown concludes her biography of this wide-ranging author by noting that "[Julia Wedgwood] brought to her work a rare combination of charm and authority, high intelligence and mysticism, wide but uneven reading and a seriousness she never tried to hide as well as a constant willingness to learn and explore" (307). Brown's biography seeks to revise scholarly attitudes toward Wedgwood, which have been fundamentally shaped by her death in 1913 when she had "outlived her period of greatest influence and popularity as a writer" (304). Brown's biography surveys Wedgwood's influence and popularity as they developed across her lifetime and in the context of luminaries such as F. D. Maurice, Elizabeth Gaskell, Mary and George Boole, and Richard Hutton as well as prominent debates on suffrage, women's education, vivisection, and the role of science within religion. Brown traces the complex shifts in Wedgwood's thinking about each of these through close readings of her private letters, her letters to monthly periodicals, and her essays for a range of upmarket monthlies. Brown's close reading of Wedgwood's periodical writing is of particular interest to readers of Victorian Periodicals Review. Although Brown does not undertake analysis of periodicals as either their own subject or as specific discursive spaces, she effectively situates Wedgwood within the milieu of the periodical press during the latter half of the long nineteenth century. Wedgwood published signed and unsigned articles in a variety of periodicals, including the Spectator, Contemporary Review, and Macmillan's Magazine. Brown draws on Wedgwood's correspondence to determine some of Wedgwood's article attributions. As Brown acknowledges in a footnote, "Identifying J. W.'s contributions to the Spectator is not easy now that R. H. Hutton's notebooks listing contributors in the 1870s and 1880s have been lost" (331n67). Brown notes that attribution becomes further complicated by Wedgwood's "boldness, [which has] tended to [End Page 472] conceal the place she held in the demanding world of upmarket periodical writing in the late Victorian age. Because we do not expect to find a woman writing about the variety of subjects Julia chose, we have not always seen her there" (307). Brown makes a compelling case for seeking Wedgwood's voice within the periodicals marketplace, although that case is secondary to her larger purpose of re-establishing "the scale of [Wedgwood's] achievement in both her private and public life. … She refused to conform with expectations about how Victorian spinsters should organize their lives, [giving] her the freedom to pursue her career as a writer, focusing on the big subjects that engrossed her" (306). One such subject was evolution: Wedgwood's two-part review of On the Origin of Species (1859) in Macmillan's Magazine (June 1860, July 1861) earned "generous praise from Darwin as one of the few who had fully understood his book" (81). The monograph is organized around four major phases of Wedgwood's life. Part 1 begins with microbiographies of her maternal and paternal grandfathers, her parents, and several of her Wedgwood aunts, including Emma and her uncle-by-marriage Charles Darwin. This section concludes with chapter 4, "The Young Novelist," which discusses Wedgwood's two early and only attempts at fiction: Framleigh Hall (1858), published under the pseudonym W. J., and An Old Debt (1858), published under the pseudonym Florence Dawson. As was the case for many women writers, her family disapproved...

Baudelaire as a Girl: Writing Through Problematic Legacies in Lisa Robertson's The Baudelaire Fractal

At a time when students and academics are grappling with the cultural legacies of misogyny, Lisa Robertson's novel The Baudelaire Fractal (2020) offers a challenging, creative mode of engagement with the male canon. It describes the journey into writing of Hazel Brown, a young woman whose painful encounter with Baudelaire's misogyny inspires not a rejection but an appropriation: one day she discovers within herself the authorship of Baudelaire's complete works, expressed as a bodily commingling: "that female mouth was both his and mine." Hazel's methods of self-expression echo those of both the French pioneers of écriture féminine and recent menstrual theorists, figuring her girlhood as a bloodstain which makes female subjectivity visible. I explore how Hazel transforms Baudelaire and his texts, blurring gender boundaries and fusing with him in a symbiotic, non-hierarchical relationship. What emerges is a defence of reading as the work of a desire which is borderless, encouraging us to persevere with, and to embrace, "the difficult texture of difference."

Resistance to Domesticity in Fanny Fern’s Ruth Hall: A Feminist Viewpoint

The status of women in society is often overlooked and defined only through the presence of men. This situation tends to exclude women from socio-cultural, economic, and political contributions to society, which can be reproduced in literary texts. In particular, Fanny Fern’s Ruth Hall (1855) reflects the miserable position of women in 19th century America and demonstrates that women must resist manhood’s power to achieve a certain ontological sense in life. Via a context-oriented technique, our analysis aims to explore the practical means through which Ruth, the protagonist of Fern’s Ruth Hall, resists domesticity to achieve self-realization and social freedom from feminist theoretical viewpoints. According to the analysis, Ruth resists domesticity through events, endurance, self-reliance, and in terms of language. Despite social standards, Fern’s representation of Ruth’s financial success highlights how women can surpass gender boundaries. Fern’s depiction of Ruth further demonstrates how the writings of female authors offer a distinct viewpoint on their place in history. It was envisaged that this analysis could advance our understanding of women’s lives in patriarchal societies from feminist theoretical viewpoints.

Vocal Depersonalization in Scat Singing

"The purpose of this paper is to question the amount of personal investment in exploring the voice as an impersonal sound, in scat singing. Jazz singers and jazz voice teachers follow vocal practices that aim to control and distort the vocal timbre, to master microtonal intervals, to push and eventually overcome the voice’s limits. In scat singing, the boundaries of gender are subdued to the impulse of improvisation, thus, even though the timbre is a biological and a physical memory, influenced by the singer’s culture and experiences, the gender encoding can be reshaped inside the licks and patterns of the improvisation section. The current paper aims to prove that scat singing is the neutral ground where aspects of the voice can blend and disappear into one another: voice gender, vocal timber, technique, individual materiality, experimentation. Keywords: scat, improvisation, jazz, vocalists "

장 폴 고티에(Jean Paul Gaultier) 시그니처 디자인으로서의 마린룩 연구

The purposes of this study are to analyze the marine look within the aesthetic characteristics of Gaultier’s fashion by examining marine-look pieces from the Jean Paul Gaultier collection and to provide information on marine-look design’s inspiration. The design characteristics of Gaultier’s marine theme were examined, focusing on the marine look exhibited between the SS 2013 and the SS 2020 fashion collections. First, the origin of Gaultier’s marine look is that the sailor shirt (marinière)-a reinterpretation of the sweater that was traditionally associated with seamen from Brittany, France-became his signature piece and is centered on the traditional French sailor look. French fashion sensibility expresses a playfulness that combines haute couture with a sense of humor. Second, the gender boundary was broken by combining male and female codes, so that the design characteristics of Gaultier’s voluptuous and decadent sailor style combined femininity with a masculine sensibility. The aesthetic characteristics of the androgynous image were expressed as “the absence and ambivalence of sex.” Third, an optical illusion focused on the physical avant-garde, employing both exposure and concealment to interact the body that was hidden by the garment by incorporating the surrealist trompe l’oeil technique into its design. This experiment showed the effects of modification and distortion on the method of dressing the body.

Doing justice: Gender, genre and crime in recent historical biofictions from Australia

In this essay we analyse three recent historical novels from Australia that take as their focus figures who transcend normative gender boundaries in some way, either through their possible criminal activity and/or their sexuality or gender identity: Hannah Kent’s Burial Rites (2013), about Agnes Magnúsdóttir, the last woman executed in Iceland; Sarah Schmidt’s See What I Have Done (2017), about the infamous Lizzie Borden; and Pip Smith’s Half Wild (2017), about the many identities of Harry Crawford. In tandem with the novels, we examine interviews and other authorial paratexts to address a number of key questions: What drew the authors to render these historical figures in fiction? What ethical or creative challenges do such portrayals present for writers and readers? What cultural work is performed by each novel? We argue that the novels’ use of indeterminacy and multiplicity as formal techniques demonstrates their authors’ commitment to feminist and revisionist interventions. Interrogating the nexus of gender and criminality as portrayed in these novels sheds light on contemporary interests in characters whose lives seem to subvert the expectations of gender identity in the nineteenth and early twentieth centuries.

Myanmar’s Coup d’état and the Struggle for Federal Democracy and Inclusive Government

This article reviews the first twelve months of the civil disobedience movement in Myanmar following the 1 February 2021 coup d’état and its many dynamics and manifestations. Myanmar’s ‘Spring Revolution’ generated a shared sense of national unity—overcoming gender, ethnic, religious and class boundaries, but raising questions about the long-term sustainability of nonviolent civil resistance in a state where the military has for decades wielded political and economic power. Since the coup, Myanmar has been in turmoil, paralysed by instability which escalated after the military’s deadly crackdown on pro-democracy activists. The article charts the growth of the Civil Disobedience Movement (CDM), its multiple methods of strategic resistance and non-cooperation, and the radicalisation of the resistance agenda. It analyses the formation of the Committee Representing the Pyidaungsu Hluttaw (CRPH), the creation of the interim National Unity Government (NUG), the founding of the National Unity Consultative Council (NUCC) and the inauguration of the People’s Defence Force (PDF). It examines the implications for Myanmar when the crisis reached a more complex phase after the military’s open use of force and terror on the broader civilian population prompted the NUG to declare war on the junta, and to urge ethnic armed organisations (EAOs) and newly formed anti-junta civilian militias (PDF) to attack the State Administration Council (SAC) as a terrorist organisation. The NUG now opposes the military junta by strategic and peaceful non-cooperation, armed resistance, and international diplomacy. This paper considers whether the predominantly nonviolent civil resistance movement’s struggle for federal democracy and inclusive governance is laying the foundations for eventual transition to a fully democratic future or whether the cycles of violence will continue as the military continues to control power by using intimidation and fear. It notes that the coup has destroyed the economy and expanded Myanmar’s human rights and humanitarian crises but has also provided the opportunity for Myanmar’s people to explore diverse visions of a free, federal, democratic and accountable Myanmar. It finally examines the possibilities for future peaceful nation building, reconciliation, and the healing of the trauma of civil war.

Doing and undoing gender: women on the frontline of Hong Kong’s anti-extradition bill movement

ABSTRACT Focusing on the anti-extradition bill movement in Hong Kong, this paper employs the concepts of doing and undoing gender to investigate the barriers that female frontline protesters encountered and the strategies they adopted. It shows that stereotypes linking high-risk activism and physical prowess with masculinity, the association of the frontline with high risks of arrest and injuries, and physical confrontation with the police meant that the frontline was marked discursively as a male domain. However, the leaderless characteristic of the movement facilitated women crossing this discursively marked gender boundary. Once on the frontline, women took different paths. Some began to do gender by taking on tasks that were considered less risky and more compatible with femininity because of the gendered interactions amongst protesters. On the other hand, women with experience, and access to social support and mentorship gained the confidence they needed to take on tasks that were seen as ‘masculine’, and thus undoing the gender stereotype that women lacked the capacity for frontline protest. The findings illustrate the continuous challenge women face as they are held accountable for their gender in social movements. At the same time, they also suggest that women’s doing of gender in social movements is not inevitable, but contingent on social contexts and interactions. Certain factors such as the leaderless characteristic of a movement and peer support and mentorship can facilitate gender boundary crossing and neutralize gendered interactions. These, in turn, allow gender to be undone in social movements and promote women’s participation

Performing the Self through Orientalizing the Kurds in Isabella Bird’s Journeys in Persia and Kurdistan

Abstract This article fleshes out the various ways Isabella Bird performs the self in her travel account, Journeys in Persia and Kurdistan (1891), mainly in her engagement with the Kurdish people. Deploying Judith Butler’s theory of performativity of gender, we argue that travel writing is empowering for Bird because it offers her a viable platform to perform a variety of selves through which she can voice her complicated and nuanced socio-political views and promote her image. Moreover, we contend that Bird’s representation of the Kurds and their region is informed by Orientalist ideology of the time as well as her own complex subject position. The fluidity of Bird’s identity, which is represented through performing a rich diversity of masculine and feminine selves in her account, exposes the constructed nature of gender. Bird not only undermines the prescribed gender boundaries of her time, but also demands the right for herself, as a woman writer, to be both caring and daring by playing the roles of a brave traveller, intellectual explorer, devoted Hakim, shrewd political analyst, religious commentator, and receptive ethnographer in Journeys.

A Matter of Conscience: American Women Religious, Feminist Agency, and the Catholic Church

Background In 2012, the long-simmering tension between American women religious sisters and Catholic Church leadership was brought into sharp focus when the largest group of American sisters—the Leadership Conference of Women Religious—was reprimanded by the Vatican's Congregation for the Doctrine of the Faith. The Doctrinal Assessment and subsequent Apostolic Visitation concluded that American religious sisters embraced a secular and radical feminist spirit that was incompatible with Church doctrine. Purpose While American women religious were publicly criticized, this conflict is not a unique American phenomenon. In fact, it is representative of the gendered challenges that women religious and lay women continue to negotiate around the globe. In many respects, religious sisters are the faces of the Church to many faithful—as teachers, social workers, advocates, and ministers—yet their structural position as women prevents them from leadership or decision-making power in the Church they serve. Methods In this research, I explore how sisters navigate these gendered boundaries in the Catholic Church in their day to day ministries. Specifically, I analyze in-depth, semi-structured interviews with 23 Sisters of St. Joseph of Philadelphia. Results Sisters in this congregation employ various forms of feminist agency to assert their power within the Church's confining structures. I find that individual sisters in the congregation use resistance and empowerment agency to claim space for their own voices in ministry. These actions do not directly challenge the sisters’ own subordination in the Church, but instead focus their individual and collective agency on satisfying the unmet pastoral needs of the faithful. Through these accumulative actions, other sisters are empowered to contest gendered institutional Church boundaries and individual clergy who reproduce them. Conclusions and implications These sites of empowerment and resistance agency are liminal spaces that point toward greater inclusion of women religious in the institutional Catholic Church, especially as they increasingly meet the ministerial needs of the faithful. Religious sisters in this congregation act with socially-just consciences, standing with the marginalized, and are empowered to increase their spheres of influence in the locations where they minister.

Application and Validation of Heterogram Analysis on Individualism-Collectivism Data across Three Countries

The prevalent method to analyze data from several groups of individuals is to define some ad hoc boundaries of individuals-for example geographic, ethnic or gender boundaries and then compare statistical means and deviations between groups. This method assumes homogeneity within each ad hoc group and treats differences among individuals in each group as subgroup variations. Instead of imposing ad-hoc boundaries, we used a new method "heterogram analysis" (Maruyama, 1999) that looks for response datagenerated grouping of individuals and the meaningfulness of each emerging group. This approach was applied to individual-level individualism-collectivism data from three countries. The results showed five individual types that cut across traditional geographic, ethnic and gender boundaries. These types were validated by two other measures. Implications of findings are discussed.

Exquisite Materials: Episodes in the Queer History of Victorian Style, by Abigail Joseph

Reviewed by: Exquisite Materials: Episodes in the Queer History of Victorian Style by Abigail Joseph Alison Matthews David (bio) Exquisite Materials: Episodes in the Queer History of Victorian Style, by Abigail Joseph; pp. xiii + 308. Newark: University of Delaware Press, 2019, $79.50, $39.50 paper. The first chapter of Abigail Joseph's book, "Dress and Drag Around 1870," conjured up a vivid personal encounter with Victorian fashion. The queer readings of high Victorian style for which Joseph convincingly argues help me retroactively to understand the 1873 fashion plate that sat, framed, on our bathroom counter during my early childhood a century later. On this plate, women and girls promenaded in a park dressed in attire that my equally flamboyantly clad orange-polyester-shirted and plaid-bellbottom-trousered self found both bizarre and enticing. This 1970s self would have looked boyish in the extreme by the standards of Victorian girlhood. Who were these doll-like people, dressed in layer after extravagant layer of blue and white fabric, ribbons, flounces and lace, with odd hats perched on their heads? Joseph singles out the 1870s as a decade known for its excessive ornamentation. It was also a decade known for the performative quality that it imparted to the wardrobes of both fashionable women and cross-dressers, like Ernest (Stella) Boulton and Frederick (Fanny) Park. As the owner of a magical childhood dress-up box, it is no wonder that I was entranced by the styles worn in a decade when fashion took on the quality of "costumes … for a 'fancydress ball,' a masquerade, outfits intended to transfigure their wearer into someone she (or he) is not, to serve as the visual and material apparatus enabling a material role to be played, the boundaries of identities to be blurred" (33). Exquisite Materials: Episodes in the Queer History of Victorian Style does an excellent job of situating and queering some of the most exaggeratedly extreme decades in Victorian feminine style and silhouettes. Joseph's framework provides a welcome and sympathetic lens through which scholars across a range of disciplines can re-view queer affective networks and archives through things, with a focus on dress and ephemera in particular. This lens is welcome in the context of a pandemic-influenced style landscape that provoked a renewed interest in nonbinary forms of dress and expression. Through her nuanced exploration of the many lacunae and silences in the queer archives, as well as by reading the sometimes surprising presences, Joseph's book speaks to the sensual and [End Page 163] sensory importance of small objects, from pets to letters, as they circulated in queer networks, having profound impacts on the lives and experiences of all those who came into contact with them. As dress and gender have always been linked in the most visible and tangible ways, it is particularly pertinent to view the mid- and high Victorian periods, often seen as two of the most binary and polarized periods in fashion, through multiple queer and trans lenses. Though this was a period when young boys wore dresses until they were breeched, the author argues, it was also a historical moment when questions of sexuality were being reformulated. Dress was literally policed by the imposition of dress laws in many places worldwide, a process intimately linked with racism and colonization, as Clare Sears powerfully demonstrates in their groundbreaking book Arresting Dress: Cross-Dressing, Law, and Fascination in Nineteenth-Century San Francisco (2014). My own field, fashion studies, has produced a wide range of texts, classic and contemporary, that focus on the ways in which dress has played with the gender binary. From Peter McNeil's Pretty Gentlemen: Macaroni Men and the Eighteenth-Century Fashion World (2018) to Ben Barry and Andrew Reilly's edited volume Crossing Gender Boundaries: Fashion to Create, Disrupt and Transcend (2020), which examines male Victorian corset or belt wearing and early bifurcated skirts for women, scholars continue to be interested in how dress embodies and displays gender nonconformity. Exquisite Materials divides its subject matter into four chapters. Three focus on case studies where style, either literary or sartorial, was actually criminalized in a legal context because of its associations with queer sexualities. These...

Entrepreneurship Experiences among Vietnamese Marriage Immigrant Women in Taiwan

Since the 1990s, Taiwan has experienced growing numbers of commercially arranged marriages between Vietnamese women and socioeconomically disadvantaged Taiwanese men. Most Vietnamese marriage immigrant women proactively engage in the labor market due to the heavy financial burden of their Taiwanese and natal families. Employing a sociocultural and post-structural feminist approach, this study draws from life-story interviews of 13 married Vietnamese women to investigate the entrepreneurship experiences among Vietnamese marriage immigrant women in Taiwan. These women are pushed and pulled towards creating demanding micro-entrepreneurships based on their self-employed socialization, thereby fulfilling family obligations and achieving career goals. Targeting their host market, these women operate their businesses using Taiwanese customer networks and their institutionalized learning and sustainable resilience while negotiating self-identity. Running entrepreneurships empowers these women, facilitating their self-identity, social integration, family position within the boundaries of gender, family expectations, and business while they struggle with unexpected challenges. Clearly, these individuals and their significant others, homeland culture and socialization, and their life experiences and positions in Taiwan shape these immigrant women’s businesses and their sense of meaning. This study extends the feminist perspective of this topic, focusing on the sustainable agency and sense of competence of female marriage immigrants.

Analisis Average Length Of Stay Pasien Typhoid Fever di RSUD Harapan Doa Kota Bengkulu

Average Length Of Stay (LOS) is an important indicator in determining the success of therapy for a disease and is also related to the cost of care incurred by the patient. the ideal value of AvLOS is 6-9 days. The level of AvLOS is influenced by the complications experienced by the patient. Typhoid fever is an endemic disease in Indonesia that knows no age and gender boundaries, and can cause various complications in the form of bleeding and intestinal perforation which can often lead to death. Based on the initial survey, the visit of typhoid fever patients in the last three years at Harapan Doa Hospital, Bengkulu City has increased, namely 2017 (11.02%), 2018 (13.47%) and 2019 (17.935) of the total visits/year, however, in 2020 it decreased (15.08%) due to the Covid-19 pandemic. This affects the AvLOS value and the cost received by the hospital. The purpose of this study was to determine the AvLOS value of typhoid fever patients at Harapan Doa Hospital, Bengkulu City. The type of research used is descriptive with a cross sectional approach. The sample of this study used a total population of 121 patients who were analyzed univariately using the AvLOS formula. The results of the univariate analysis, from the calculation results obtained that the total length of stay (LD) of typhoid fever patients was 395 days/year with AvLOS 3.18 days/year, the number of typhoid fever patients was out of life 124 (100%) patients, AvLOS of typhoid fever patients based on age group. The highest was found in the age group >1-5 years, namely 5.17 days compared to the age group >44-65 years, namely 3.43 days and >65 years, namely 3 days, where typhoid fever was accompanied by complications/companies. AvLOS of typhoid fever patients based on gender was found in female sex at 3.31 days with a total of 59 patients compared to male sex at 3.23 days with a total of 5 people. It is hoped that the hospital will formulate a clinical pathway for Typhoid Fever Treatment so that the quality of service for typhoid fever cases is in the efficientcategory.

“Inhabited by a Cry”: Representations of Music, Self‑Expression and Survivance in Québécois Indigenous Film

For Indigenous youth living in Québec, music is a key tool used for self-discovery and identification. As they listen to pre-recorded albums and make their own their music, they discover what cultural markers they possess in terms of national identities, gender boundaries, sexual preference, etc. This article assesses how recent Indigenous Québécois cinema depicts this process of self-discovery in relation to national markers, through the feature film 3 histoires d’Indiens (dir. Robert Morin, 2014) and three short films from the Wapikoni Mobile project. It contemplates how successful these characters are in using music to discover their own identities, the intercultural encounters they have as they go about this process, and crucially, how Indigenous and settler directors represent this cultural journey in differing manners. Through this analysis, this article assesses the important role that music plays in self-discovery, and why the self-representation of Indigenous voices and musicality matters.

Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic by Susan Funkenstein

Reviewed by: Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic by Susan Funkenstein Kate Kelley Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic. By Susan Funkenstein. Ann Arbor: University of Michigan Press, 2020. Pp. 330. Paper $39.95. ISBN 978-0-472-05461-9. Through a series of case studies on the visual imagery of social and professional dance, Susan Funkenstein's interdisciplinary monograph Marking Modern Movement tracks interactions and relationships between dancers and visual artists during the Weimar era. Drawing primarily on literature from gender studies, cultural history, art history, and dance history, Funkenstein fluently describes and analyzes dance and visual art. The dancing body, Funkenstein argues, was a site of cultural debate used by artists to explore, challenge, or reinforce gender norms as well as racial stereotypes. Constantly reevaluating the self-other binary in a selection of "high" and popular visual art, Funkenstein aims to show how these exchanges between dancers and visual artists, unique to the Weimar period, allowed artists to center the embodied experiences of women, shifting their status from object to subject. Through interpretations of dances and popular music associated with African American culture, this book also tracks the role of American cultural influence in Germany at this time as well as Germany's colonial imagination after losing its colonies at the end of WWI. Moreover, Funkenstein uses paintings, drawings, photographs, performances, and other art media to analyze the ways in which men and women crossed boundaries into opposite gendered spheres—just as many women entered the political sphere, so too did men find their ways into cultural realms of fashion and dance. The first chapter looks at two photomontages by artist Hannah Höch which make visible the contradictory place of women in 1919–1920. After having gained rights and workplace opportunities during the war, women were made to cede the realms of politics and the economy to men at the war's end. Combining, for example, images of early modern dancers dressed in loose-fitting white chitons with the heads of well-known suffragists, Höch's works couple women's emancipation with the celebration of their difference, especially their maternal nature, suggesting that a return to normative femininity and gender roles may have been welcome after the chaos and anxiety of wartime. In chapter 2, Funkenstein presents Mary Wigman as having more of a positive view on the role of women in politics and society than Höch, using, as she does in all the chapters, a significant amount of biographical detail. Funkenstein argues that Wigman's positioning herself as the subject through solo performances, costume choices, particular movements, and gestures, as well as her strong leadership, forced established male artists Emil Nolde and Ernst Ludwig Kirchner (both personal friends of Wigman) to rethink their portrayal of women as objects in their paintings. Funkenstein suggests that both artists, in repeatedly "marking" performances along with the dancers, were able to capture and, to some [End Page 181] degree, join their community, thus crossing the otherwise strictly gendered boundary of the all-female dance company. In a turn toward a more "low-brow" art form, the third chapter challenges dominant readings of the Weimar revue stage—specifically the kickline—as either representations of male sexual desire or as a reflection of growing capitalism and industrialization. Funkenstein looks at the revues as "women's culture filled with women's visual and performative pleasure" (93–94). Her case studies include the popular women's magazine Uhu's portrayals of women in revues as women experiencing pleasure and celebrating their physical beauty, while Hannah Höch's costume and set designs for her never-realized performance Anti-Revue used humor and androgynous characters to highlight the female performer's individuality and the possibilities for breaking down gender roles and crossing gendered boundaries. In her chapter on another well-known star, Funkenstein argues that Josephine Baker, ever aware of her public image, represented, on the one hand, the stereotypes and typology exemplified in the title of Paul Klee's portrait of Baker's Negride Schönheit and, on the other hand, the boundary-pushing notion that...