Preliminary Programme

Wed 24 March
    11.00 - 12.15
    12.30 - 13.45
    14.30 - 15.45
    16.00 - 17.15

Thu 25 March
    11.00 - 12.15
    12.30 - 13.45
    14.30 - 15.45
    16.00 - 17.15

Fri 26 March
    11.00 - 12.15
    12.30 - 13.45
    14.30 - 15.45
    16.00 - 17.15

Sat 27 March
    11.00 - 12.15
    12.30 - 13.45
    14.30 - 15.45
    16.00 - 17.00

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Friday 26 March 2021 16.00 - 17.15
P-12 WOM17 Gender History between Memory, Methodology and Politics
P
Network: Women and Gender Chair: Raisa Toivo
Organizers: - Discussant: Raisa Toivo
Pauline Mari Hernando : Mapping Allegories on Gender: Women's Revolutionary Experience as Literary & Political Praxis
The Philippines has the longest running communist insurgency in the whole world. The vast history of protracted people’s war vehemently served as a source for diverse theorization on national identity and social movements which both practice parliamentary and armed struggle. Nationalist and revolutionary organizations sprung and propagated from colonial experiences ... (Show more)
The Philippines has the longest running communist insurgency in the whole world. The vast history of protracted people’s war vehemently served as a source for diverse theorization on national identity and social movements which both practice parliamentary and armed struggle. Nationalist and revolutionary organizations sprung and propagated from colonial experiences up to the current stage of neoliberalism. Among these is the women’s revolutionary movement. Documenting the political and cultural contributions of women belonging in the Philippines’ National Democratic Movement in peoples’ struggle comprises a complex methodology from the lenses of dialectical materialism and class analysis. Women in these organized movements are being read and mapped through their own rhetorical praxis in literature and sociopolitical involvement. Women as cadres, guerillas, and activists have provided discursive and cultural texts relevant in decrypting their ideological stance and revolutionary consciousness. This paper explores women litterateur’s allegories as analytical category in analyzing nation-ness, historical truths, politicization, and lived experiences within the arena of national-democratic struggle. Literary texts may serve as substantive material in cross-disciplinary approach for these are sites of struggle in the continuous formation of historical narratives and cultural memories. These emancipatory texts from the urban and countryside depict almost half a century of philosophy of narratology from women’s revolutionary movement. Allegories on gender and political questions are all embedded in the narratives of nationalist and anti-imperialist struggle. The macho-feudal framework and endeavor to de-historicize militant women along with their democratic functions and commitment in defending human rights and social justice are dissented with non-fictive inscriptions of the past. Material conditions and productions converge in the lines of theory to symbolize a larger and more complex realm of struggle in the protracted people’s war that is yet to be discerned. (Show less)

Natalia Knekht : Cine-Feminism: Authorship Problem in “Post-Thaw Period” Cinema and in Young Women’s Movies in Modern Russia
Contrasted with “feminine explosion” in world cinema, modern Russian cinema only begins to show “feminine shift”. Russian press starts to claim new women names in public discourse. Women filmmakers are still a small group, but they make major gains in artistic endeavors realization.
Many researchers define post-Soviet gender order as “neo-partiarchy”: ... (Show more)
Contrasted with “feminine explosion” in world cinema, modern Russian cinema only begins to show “feminine shift”. Russian press starts to claim new women names in public discourse. Women filmmakers are still a small group, but they make major gains in artistic endeavors realization.
Many researchers define post-Soviet gender order as “neo-partiarchy”: domination of authoritarian masculine power generates reaction – “feminine power” whose subjects use various responsive, tactic, indirect ways of opposition.
Under conditions of modern Russian state-market capitalism women surmount their marginal status in society by building their own life project. However, they only gain symbolic power in public space: “women’s cinema”, although offering scope for public utterance, did not yet enter the cohort of hot ticket; on a movie industry scale “women’s cinema” exists as small “atelier” (generally there are low-budget art cinema or documentaries). The attempts to re-define “men’s order” of Russian movie industry are explained by women filmmakers’ cultivation of uniqueness and non-reproducibility of author’s pattern, own style, thus striving to affirm their right on artistic expression. Namely through auteur cinema, even though women filmmakers address genre formulas, set patterns are shattered.
As A. Melikyan, V. Storozheva, V. Gai Germanika, O. Bychkova and N. Meshchaninova show, today traditional romantic model of gender relations disintegrates. Young women’s autonomation, their adventurous behavior is heavily based on instability of modern socio-cultural order, growing “precarization” of society.
With that, women filmmakers, contrarily to their men counterparts, aren’t yet participating in direct propagation of new national-patriotic State ideology, in creation of new social myths.
Young “women’s cinema” works with existing traumatic social reality, with whole problem of gender relations. Same as “men’s cinema”, it sidesteps acute political issues, problematizes social space and starts to be perceived in political categories. As part of fiction film, V. Gai Germanika and N. Meshchaninova mainstream the arsenal of documentary filmmaking, this way social space is transcoded into political. The accent on texture, authenticity, literalism, sincerity and graphic manner close to the wind (explicit language, showing woman personage’s masturbation etc.) make it possible to look at sore spots of Russian life.
This distinguishes contemporary Russian young women’s movies from “post-thaw period” women filmmakers’ auteur cinema. Soviet stereotype of filmmaking as masculine profession remains strong: it requires physical stamina, resilience and iron health. We connect the sources of its stereotype to Soviet times when men have got priority right to make it into filmmaker studios. “Post-thaw period” auteur cinema represented by brilliant works of L. Shepitko, K. Muratova, T. Lioznova and D. Asanova, is rather an exception from the rule.
It is conventional to traditionally evaluate auteur cinema following “vague” esthetic criteria. In our paper we’ll try to track changes in understanding of auteur cinema in terms of socio-cultural, gender and political transformation, from “post-thaw” cinema till present day and to show esthetic criteria as effect of social changes.
It is important to understand whether there is a special “female aesthetics” able to accompany the formation of the political subject of the feminist movement in Russia. (Show less)

Natalia Pushkareva : What Role does Gender Theory play in Contemporary Memory Politics? Entgendering Contemporary Memory Politics of Russia and Japan (from the History of the Convergence of Cultures in the Context of the Post-war Everyday Life)
What role does gender theory play in contemporary memory politics? Entgendering contemporary memory politics of Russia and Japan (from the history of the convergence of cultures in the context of the post-war everyday life )

The history of the convergence of the Japanese and Russian (Soviet) cultures in the context of ... (Show more)
What role does gender theory play in contemporary memory politics? Entgendering contemporary memory politics of Russia and Japan (from the history of the convergence of cultures in the context of the post-war everyday life )

The history of the convergence of the Japanese and Russian (Soviet) cultures in the context of the complex relations of the postwar period remains a debatable topic for both countries. The gender aspect of this convergence has been studied a little only. Using the oral history, autobiographies and memory drawings of Japanese prisoners and internees who worked for the Soviet economy in 1945-1956, we are able to understand the adaptation mechanisms of Japanese people on Soviet Far East.
Analyzing the relations of Japanese prisoners and interned with Soviet women (doctors, nurses, military, security guards, overseers, neighbors in places of settlement, etc.) one can understand the heuristic value of such investigation for the reconstruction of the history of Northern Asia in general, Japan and the Far Eastern part of Russia in particular, and also for reviewing the history of ordinary people who worked, suffered and loved about half a century ago.
Unusual circumstances of extreme everyday life for Soviet women as well as for captured men from Japan are giving us possibility to describe and evaluate behavioral responses in a non-static social environment, in the interaction of complex feelings, expectations, aspirations and actions. How true is the statement that unstable and dangerous living conditions made friendly, quasi-family and other social relations stronger? How rallied were the people separated by barbed wire (virtually or in reality)? How did they try to understand each other in the name of self-preservation?
What taught women and men in unusual circumstances to cope with difficulties? How much did this skill sharpen in a situation of extreme? How have sexual preferences changed in such context and what (in general) can be said about the intimate world of those who were surrounded by a foreign culture and hostile people who spoke a foreign language ? (Show less)

Gizem Sivri : The Politics of Women Imprisonment within the Discussion of the Ottoman Prison Reform (1840-1919)
In this presentation, the reformation process of Ottoman prisons is analyzed regarding the women prisons. Reform packages, international political interventions, and regulation proposals will be examined to reveal the differences between the Ottoman government’s prison policy-making and its practical implementation in the imperial prisons. I aspire to deal with varied ... (Show more)
In this presentation, the reformation process of Ottoman prisons is analyzed regarding the women prisons. Reform packages, international political interventions, and regulation proposals will be examined to reveal the differences between the Ottoman government’s prison policy-making and its practical implementation in the imperial prisons. I aspire to deal with varied practical imprisonment applications and general situations of prisons which had deeply different components than the written prison regulations. Without an analytical narrative of the Ottoman prison reform period, the overall issue of Ottoman women’s prisons and women prisoners cannot be examined. In so doing, this presentation evaluates the aspects and failed attempts at reform to draw a general framework for the Ottoman prison question and its reflection to the women’s prisons and women incarceration. (Show less)



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