Female Representation Quotes

The representation of women in the society, especially through mass media has been the most delusional act ever done on the grounds of human existence.

There is a better way. And it's a pretty simple one: we must increase female representation in all spheres of life.

And I tried to remember any case in the course of my reading where two women are represented as friends. (...) almost without exception they are shown in their relation to men. (...) [women in fiction were] not only seen by the other sex, but seen only in relation to the other sex. And how small a part of a woman's life is that

The strangest thing about humans is the way they pair up, males and females. Constantly at war with each other, never content to leave each other alone. They never seem to grasp the idea that males and females are separate species with completely different needs and desires, forced to come together only to reproduce Of course you feel that way. Your mates are nothing but mindless drones, extensions of yourself, without their own identity. We know out lovers with perfect understanding. Humans invent an imaginary lover and put that mask over the face of the body in their bed. That is the tradegy of language, my friend. Those who know each other only through symbolic representations are forced to imagine each other. And because their imagination is imperfect, they are often wrong, This is the source of their misery. And some of their strength, I think. Your people and mine, each for their own evolutionary reasons, mate with vastly unequal partners. Our mates are always, hopelessly, our intellectual inferiors. Humans mate with beings who challenge their supremcy. They have conflicts between mates, not because their communication is inferior to ours, but because they commune with each other at all.

The patterns of gratification are simple, and seem to fall into two patterns, the Great Bitch and the Poison Maiden.

The Great Bitch is the deadly female, a worthy opponent for the omnipotent hero to exercise his powers upon and through. She is desirous, greedy, clever, dishonest, and two jumps ahead all the time. The hero may either have her on his side and like a lion-tamer sool her on to his enemies, or he may have to battle for his life at her hands.

We keep coming back to the question of representation because identity is always about representation. People forget that when they wanted white women to get into the workforce because of the world war, what did they start doing? They started having a lot of commercials, a lot of movies, a lot of things that were redoing the female image, saying, “Hey, you can work for the war, but you can still be feminine.” So what we see is that the mass media, film, TV, all of these things, are powerful vehicles for maintaining the kinds of systems of domination we live under, imperialism, racism, sexism etc. Often there’s a denial of this and art is presented as politically neutral, as though it is not shaped by a reality of domination.

People may chuckle appreciatively at a male turkey that tries to mate with a poor rendition of a female's [suspended] head, but if you then point out that many a human male regularly gets aroused after looking at two-dimensional representations of a nude woman, they don't see the connection.

In democracies,5 for example, females have often held no office or do so (as now) in such minuscule numbers as to be below even token representation. Aristocracy,

we must increase female representation in all spheres of life. Because as more women move into positions of power or influence, there’s another pattern that is becoming even more apparent: women simply don’t forget that women exist as easily as men often seem to.

It is an animus, she decides, the representation of the Logos in the female, as the anima is the representation of Eros in the male. In its negative aspect it is opinionated, conventional, banal, self-righteous, argumentative . . . In its positive aspect, it conveys spirit, feistiness, the capacity for reflection and self-knowledge, the capacity to handle philosophical and religious ideas at the higher levels.

Why I am Passionate and Dedicated 1000% to producing and bringing my books Loving Summer, Bitter Frost, and other book series to the Screen is because these are the very books that I was cyber-bullied on. When confronted by bullies, you don't shy away, but you Fight Back. Many people have not read the books, but believe fake news and damaging slanders against them and me as a person because it was a marketing strategy used to sell my books' rival books. By bringing these very books to the screen, people can see how different my books are to theirs. Also, most of all, it is pretty darn fun and fierce for me, as a female Asian writer, director, and producer to bring these fan favorite books to screen.

Take the issue of women being interrupted. An analysis of fifteen years of Supreme Court oral arguments found that ‘men interrupt more than women, and they particularly interrupt women more than they interrupt other men’.73 This goes for male lawyers (female lawyers weren’t found to interrupt at all) as well as judges, even though lawyers are meant to stop speaking when a justice starts speaking. And, as in the political sphere, the problem seems to have got worse as female representation on the bench has increased. An individualist solution might be to tell women to interrupt right back74 – perhaps working on their ‘polite interrupting’75 skills. But there’s a problem with this apparently gender-neutral approach, which is that it isn’t gender-neutral in effect: interrupting simply isn’t viewed the same way when women do it. In June 2017 US Senator Kamala Harris was asking an evasive Attorney General Jeff Sessions some tough questions. When he prevaricated once too often, she interrupted him and pressed him to answer. She was then in turn (on two separate occasions) interrupted and admonished by Senator John McCain for her questioning style.76 He did not do the same to her colleague Senator Rob Wyden, who subjected Sessions to similarly dogged questioning, and it was only Harris who was later dubbed ‘hysterical’.

Stop telling me I’m oppressed.....I’m not a victim. I don’t know why feminists are so hellbent on characterizing me as one.....Feminists don’t speak for me. They’re not my voice. They’re not my representation. I owe them nothing, except maybe a shred of sympathy. How miserable must they be to see oppression at every turn?...You DON’T speak for me. You DON’T represent me or my concerns....We’re living proof that the modern day feminist movement is a crock. Feminists are victims of their own delusions, and we’ll never buy what they’re selling.

The Poison Maiden has conceived by him, and is plumb ready to enter the divine category of mother, only one last fiend clubs her to death. The final clinch of male romanticism is that each man kills the thing he loves; whether she be Catharine in A Farewell to Arms, or the Grecian Urn, the 'tension that she be perfect' means that she must die, leavinf the hero's status as a great lover unchallenged. The pattern is still commonplace: the hero cannot marry. The sexual exploit must be conquest, not cohabitation and mutual tolerance.

There is a paradox at the heart of contemporary Western feminism. Ideological feminists insist on grandiose goals such as “ending the patriarchy.” Yet campaigns against men-only clubs or for female representation on corporate boards are elitist concerns far removed from the daily existence of the average woman. If we think back to the sociologist Abraham Maslow’s hierarchy of human needs, the issues Western feminists prioritize today are in the realm of self-actualization: enhancing conditions at work, having access to state-sponsored child care, joining all-male associations, balancing housework duties with male partners, and gaining prestige. This is not to say that we should forgo laudable goals such as smashing the glass ceiling. But the freedom for all women to live free from violence should come first.

Women are socialised from an early age to comply with hyper-sexual stereotypes found in both fast-moving media and ‘high art’ and cultural representations, which consequently become the default norm. And seeing women as sexually available in images found everywhere from the art gallery to the workplace to the top deck of the bus on the way to school, creates a totalising environment of erotic privilege for straight men.

egg-sac, Ben thought, and his mind seemed to shriek at the implication. Whatever It is beyond what we see, this representation is at least symbolically correct: It’s female, and It’s pregnant. . . . It was pregnant then and none of us knew except Stan, oh Jesus Christ YES, it was Stan, Stan, not Mike, Stan who understood, Stan who told us. . . . That’s why we had to come back, no matter what, because It is female, It’s pregnant with some unimaginable spawn . . . and Its time has drawn close. Incredibly, Bill Denbrough was stepping forward to meet It.

I know that Goddess ritual, insofar as it generates reverence for and celebrates that which is female, which is us, is fiercely empowering, and that her image in our minds—images of ourselves as deity—is necessary as a blueprint for a more authoritative mode of being in the world. The Goddess is a metaphor for our own and all women's creative, healing, transformative powers, a representation of our inner selves.

Perhaps it is true that a representation of only the female side of things - which tends to be one long protest and complaint rather than the portrayal of a full and substantive existence - is limited. But an equally relevant question, one much less frequently asked, is: Is it more limited than the prevailing male view of things, which when not taken as absolute truth - is at least seen as "serious," relevant and important?

-the words "female libido" cannot mean anything, since the possibility that they might mean anything would inevitably lead us to question the project and projections of that meaning itself. The "unjustifiable," intolerable nature of those words "female libido," would be one symptom of something outside that threatened the signs, the sense, the syntax, the systems of representation of a meaning and a praxis designed to the precise specifications of the (masculine) "subject" of the story.

Islam's prohibitions against pictoral representation of the human being have prevented the ubiquitous spread of the use of the female body for corporate purposes. Advertisements do not feature superfluous female body there to titillate potential buyer. In advertisements...image is not advanced as an ideal to which other women should aspire. Hence the use of images of women (and men) does not promote the phenomenon of self-correcting and self-policing, as is the case with the use of images in the mainstream Western culture.

MANO: There's no question in my mind that we've always felt, in the heart of our Western, Christian culture, that Jesus was very much female. That is why the representations of Jesus with long hair have always been predominant in art. The Virgin Mary was later presented as a harmless sort of woman to whom we can address our need for a maternal outlet in prayer, as a safer way of dealing with the fact that Jesus was as much a woman as a man, particularly when he died. DOOR: You said that if men don't overcome their wanting of women, society will crack. MANO: We are coming to a point where the genders are clumsily engaging in civil war with each other. There's a lot of unpleasantness in the land. Men feel terribly threatened. Women have been crucified for many years, so they understand it and have their axes to grind as well. The truth of the matter is, Jesus on the cross is the female being exploited in every which way. I mentioned intercourse being, at its best, an act of penetration, but there are many other ways in which women have been sacrificed, whether from childbirth or being sold as wives or whatever, through history. So when the male S&M devotee binds a woman to a cross, he has to realize, if he's a Christian-- DOOR: Uh, just how many Christian S&M devotees are there? MANO: Even if he's not a Christian, he ought to realize that he is essentially binding Jesus again, because Jesus contains in him the female--very, very strongly--but almost mystically hidden, I think, because the truth is too painful to deal with. I don't know. I've never heard anyone else say what I'm saying now.

I dreamt that I took William Burrough’s penis and tied it up with piano wire. I hung him like a Chagall painting…In the next part J.G. Ballard swam through streets of female urine. The girls read his book Crash and then mowed him down with their Volkswagen, crushing his chest slowly against a brick wall. As he screamed in agony larger than representation can accommodate, they referred to his text and had orgasms. Later, they jumped up and down yelling, ‘You’re not a hero. You’re not a hero. You’re not. You’re not. You’re not.’ “ “How do you analyze that part of the dream, Anna?” …”I guess I’m nervous about my birthday.

Oil production affects gender relations by reducing the presence of women in the labor force. The failure of women to join the nonagricultural labor force has profound social consequences: it leads to higher fertility rates, less education for girls, and less female influence within the family. It also has far-reaching political consequences: when fewer women work outside the home, they are less likely to exchange information and overcome collective action problems; less likely to mobilize politically, and to lobby for expanded rights; and less likely to gain representation in government. This leaves oil-producing states with atypically strong patriarchal cultures and political institutions

It has become fashionable for modern workplaces to relax what are often seen as outmoded relics of a less egalitarian age: out with stuffy hierarchies, in with flat organisational structures. But the problem with the absence of a formal hierarchy is that it doesn’t actually result in an absence of a hierarchy altogether. It just means that the unspoken, implicit, profoundly non-egalitarian structure reasserts itself, with white men at the top and the rest of us fighting for a piece of the small space left for everyone else. Group-discussion approaches like brainstorming, explains female leadership trainer Gayna Williams, are ‘well known to be loaded with challenges for diverse representation’, because already-dominant voices dominate.

In every age a general misdirection of what may be called sexual "taste"... [is] produce[d by the devil and his angels]. This they do bu working through the small circle of artists, dressmakers, actresses, and advertisers who determine the fashionable type. The aim is to guide each sex away from those members of the other with whom spiritually helpful, happy, and fertile marriages are most likely. Thus [they] have now for many centuries triumphed over nature to the extent of making certain secondary characteristics of the male (such as the beard) disagreeable to nearly all the females-and there is more in that than you might suppose. As regards the male taste [they] have varied a good deal. At one time [they] have directed it to the statuesque and aristocratic type of beauty, mixing men's vanity with their desires and encouraging the race to breed chiefly from the most arrogant and prodigal women. At another, [they] have selected an exaggeratedly feminine type, faint and languishing, so that folly and cowardice, and all the general falseness and littleness of mind which go with them, shall be at a premium. At present [they] are on the opposite tack. The age of jazz has succeeded the age of the waltz, and [they] now teach men to like women whose bodies are scarcely distinguishable from those of boys. Since this is a kind of beauty even more transitory than most, [they] thus aggravate the female's chronic horror of growing old (with many [successful] results) and render her less willing and less able to bear children. And that is not all. [They] have engineered a great increase in the license which society allows to the representation of the apparent nude (not the real nude) in art, and its exhibition on the stage or the bathing beach. It is all a fake, or course; the figures in the popular art are falsely drawn; the real women in bathing suits or tights are actually pinched in and propped up to make them to appear firmer and more slender and more boyish than nature allows a full-grown woman to be. Yet at the same time, the modern world is taught to believe that it is being "frank" and "healthy" and getting back to nature. As a result [they] are more and more directing the desires of men to something which does not exist-making the role of the eye in sexuality more and more important and at the same time making its demands more and more impossible.

The unfortunate truth is that right now men's voices dominate and we see the results. Popular products from the tech boom - including violent and sexist video games that a generation of children has become addicted to - are designed with little to no input from women. Apple's first version of its highly touted health application could track your blood-alcohol level but not menstruation. Everything from plus-sized smart phones to artificial hearts have been build at a size better suited to male anatomy. As of late 2016, if you told one of the virtual assistants like Siri, S Voice, and Google Now, 'I'm having a heart attack,' you'd immediately get valuable information about what to do next. If you were to say, 'I'm being raped,' or 'I'm being abused by my husband,' the attractive (usually) female voice would say, 'I don't understand what this is.

Who do I write for? I thought about this again and again over the next few days until the answer crystalized in my consciousness. I write for all readers. But my primary interest is in representing the complex but universal experience of Somalis. I do this because the media representation of the global Somali community is one that is carved out of derivative clichés crammed with pirates, warlords, terrorists, passive women and girls whose entire existence seems to be nothing more than a footnote on the primitive dangers of female genital mutilation. I write because I want to give a long-overdue voice to a community that has experienced a tremendous array of challenges but who constantly face these challenges with the most wicked sense of humour, humility and dignity. My father always used to tell me that in our culture, the done thing when you’re facing hardship and your belly is empty is to moisturize your face, comb your hair, press your clothes and step out into the sun with your sense of humanity intact. It’s a lesson I’ve carried with me to this day.

In the first century BC, the funeral processions of members of the political elite, including females, even halted at the Forum, where an oration was delivered.99 The family also arranged for “living statues” to accompany the procession; these were actors wearing the masks of important ancestors who had themselves been honored with public statues. By these means, which endured into the Imperial Age, descendants created a publicly visible representation of their families and their position in society.100 How did surviving associates and relatives mark the exceptional nature of a funeral? On the one hand, they did it by ostentatiously neglecting their own outward appearance, leaving their hair unkempt (or at least without ornament), and wearing ragged, “dirty” (or at least dark) clothing. In sum, by renouncing signs of social distinction.101 At the same time, however, the opportunity for public exposure that the mourning ritual provided was not to be missed, for it was yet another opportunity to showcase the personal status or the prestige of the family or group.

Sex may be completely out in the open now, but it's still defined and controlled by a powerful subset of elite men. In the past thirty years, ideas about what makes women sexy have become narrower, more rigid, and more pornographic in their focus on display and performance. Nancy Jo Sales wrote an article in Vanity Fair about the 'porn star' aesthetic and young girls' behavior on social media, observing that pornography is not about liberation but about control. The more pornography, the more control. 'Girls talk about feeling like they have to be like what they see on TV,' the director of a youth-counseling service for teens told Sales. 'They talk about body-image issues and not having any role models. They all want to be like the Kardashians.' The pervasiveness of the porn aesthetic, combined with the under-representation of more multidimensional female characters, affects the attitudes, behavior, and ideas about gender roles in both girls and boys, but it's especially insidious for girls' self-concept; as they constantly absorb the message that the choice comes down to either duck-faced selfies across a portfolio of social-media accounts, or abject invisibility.

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a reproductive vessel. The reduction of the head and the diminution of the extremities seem to stress the female form as potentially reproductive, but to what extent this condition was seen as sexual, erotic or matriarchal is unclear. ....Despite the correct rejection of the 'Mother Goddess' and utopian matriarchy myths by recent scholarship, we should not loose track of the overwhelming evidence that the image of female nudity was indeed one of power in ancient Mesopotamia. The goddess Ishtar/Inanna was but one of several goddesses whose erotic allure was represented as a powerful attribute in the literature of the ancient Near East. In contact to the naked male body which was the focus of a variety of meanings in the visual arts, female nudity was always associated with sexuality, and in particular with powerful sexual attraction, Akkadian *kuzbu*. This sexuality was not limited to Ishtar and her cult. As a literary topos, sensuousness is a defining quality for both mortal women and goddesses. In representational art, the nude woman is portrayed in a provocative pose, as the essence of the feminine. For femininity, sexual allure, *kuzbu*, the ideal of the feminine, was thus expressed as nudity in both visual and verbal imagery. While several iconographic types of unclothed females appear in Mesopotamian representations of the historical period - nursing mothers, women in acts of sexual intercourse, entertainers such as dancers and musicians, and isolated frontally represented nudes with or without other attributes - and while these nude female images may have different iconographic functions, the ideal of femininity and female sexuality portrayed in them is similar. -Zainab Bahrani, Women of Babylon: Gender and Representation in Mesopotamia

Can the splitting of representations explain multiplicity? Not at all, for two reasons.20 First, a split is into two, not many. The splitting of self and object representations manifest polarity: self-object, good-bad, male-female, friend-foe, and so on, whereas alters generally don't (though they may). Second, hosts and alters are intentional subjects or agents, entities capable of uttering "I." Indeed, one may profitably regard alter as short for alter ego, literally "other I." A given "I" has intentional objects that are its respective self and object representations. In other words, a split representation, even of the self, is an object of thought, not a thinker, not a subject or agent or "I.

Finding themselves in competition with younger women (many of whom are not and will never be feminist) for male attention they often emulate sexist representations of female beauty.

Nobody can seriously doubt that environmental factors modify the expression of sex differences. The problem with socialization theories is that they ask the environment to do all of the work. They fail to recognize that the environment is acting on an evolved organ—the mind. Of course, forces such as reinforcement, imitation, cognitive schema, and conformity all modulate our actions. The pleasure of social approval, the ability to learn through observation, our internal representations, and the desire to be like others—these are part of human psychology everywhere. The question is whether these processes alone can explain the origins of the cross-cultural differences between male and female. Altering reinforcement contingencies for sex-typical behavior can temporarily change it: boys and girls will show cross-sex play where the environment is manipulated to encourage it and social approval is contingent on it. But when that intervention is removed, children revert to the same-sex preference that characterizes children everywhere.

Her father had thought it too much to throw in the faces of clients who needed a gentle introduction to the prospect of female representation.

It is fair to say the attendees of the carnival-like conference just outside Miami took little note of McNabb’s consternation. Investors have in recent years been able to buy niche, “thematic” ETFs that purport to benefit from—deep breath—the global obesity epidemic; online gaming; the rise of millennials; the whiskey industry; robotics; artificial intelligence; clean energy; solar energy; autonomous driving; uranium mining; better female board representation; cloud computing; genomics technology; social media; marijuana farming; toll roads in the developing world; water purification; reverse-weighted US stocks; health and fitness; organic food; elderly care; lithium batteries; drones; and cybersecurity. There was even briefly an ETF that invested in the stocks of companies exposed to the ETF industry. Some of these more experimental funds gain traction, but many languish and are eventually liquidated, the money recycled into the latest hot fad.

The solution to the sex and gender data gap is clear: we have to close the female representation gap.

Out in Africa examines the anthropological, cultural and literary representations of male and female same sex desire, as it is at odds with an apparent context of heteronormativity and emphasis on reproduction, in a pan-African context, from the nineteenth century to the present.

Ernst & Young, Catalyst, the World Bank, and McKinsey have “all discovered over the past few years that once parliaments and corporate boards reach 30 percent female representation, the quality of decisions improves, the guys behave better, and there is less corruption.”[1]

The text involves some difficult topics – including views on women, black people, colonialism and slavery, disability and queer people. At times it has been uncomfortable to write and I know that parts may be to read, but I hope that it tries to balance the views and experiences, both positive and problematic by modern views, of the time. The lines intersecting historical accuracy, acceptability in fiction and sensitively truthful representation rarely meet comfortably and there are always choices to be made.

On the rare occasions when farm animals have been individualized in fiction, perceptions of their rights have changed. For example, Babe (1995) is a film that appears to have influenced some viewers’ perceptions of eating meat. Babe is a comedy- drama about an anthropomorphised pig that dreams of being a sheep dog. During the film, Babe (the pig) escapes being slaughtered several times, often in comical circumstances. The story ends happily with Babe achieving his ambition of becoming a “sheep dog” and thus avoiding his fate as a farmed pig. In the period following the film’s release, there was a dramatic rise in the number of vegetarians, especially young female vegetarians (Nobis 2009: 58). This change in attitude was dubbed the “Babe effect” (Nobis 2009: 58). The “Babe effect” likely occurred because this film depicted farm animals as intelligent, individual, and compassionate individuals, something that had seldom been done previously and is usually reserved for higher-order species (Plumwood 2012: 55–74).

Art-making, the very creation of beauty itself, was equated with the representation of the female nude. Here, the very notion of the originary power of the artist, his status as creator of unique and valuable objects, is founded on the discourse of gender difference as power.

the perspectives offered in the texts may not represent the cultures as wholes (as presupposed by the long-used constructs “Israelite” and/or/versus “Canaanite”). Instead, texts have been taken as representations of the overlapping perspectives of various social factions, strata, and segments: so-called official versus popular; domestic versus public; elite versus peasant; male versus female.

As a viewer, I was left torn, wanting the women to have it all, to not seem to be excluded if they dared to transgress the traditional female gender role, but finding myself presented with heroines who never did, who seemingly had to choose between heroic accomplishment and romance, and who made it more complicated to see these options as possible for other than the male-identified. This representational “either/or” is one more symptom of the so-called war between the sexes that continues to confound feminists about the roles romantic relationships play in our lives and even the idea of romance itself: how are we to be dedicated to empowering ourselves and others but also to find a real romantic connection if that interests us? (4)

Today, some viewers who seek or expect constructions of female identity that cohere with expectations for a strong, independent woman who can take care of herself and save others have less patience with uncomplicated stereotypical representations of the utterly helpless female, no matter the genre. (9)

mind controlling technologies, such as subliminal images in magazine photographs and on television have long been used – not to mention the use of deviant pedophile symbols in movies such as The Lion King by Disney. The word “sex” and artful representations of male and female anatomies are carefully crafted into many images, and the magazine industry has even gone so far as to include libido-enhancing scents in

The most profound religious symbols rely for their power in large part on this underlying fundamentally bipartisan conceptual subdivision. The Star of David is, for example, the downward pointing triangle of femininity and the upward pointing triangle of the male.*1 It’s the same for the yoni and lingam of Hinduism (which come covered with snakes, our ancient adversaries and provocateurs: the Shiva Linga is depicted with snake deities called the Nagas). The ancient Egyptians represented Osiris, god of the state, and Isis, goddess of the underworld, as twin cobras with their tails knotted together. The same symbol was used in China to portray Fuxi and Nuwa, creators of humanity and of writing. The representations in Christianity are less abstract, more like personalities, but the familiar Western images of the Virgin Mary with the Christ Child and the Pietà both express the female/male dual unity, as does the traditional insistence on the androgyny of Christ.43

By my early twenties, I was still devoted to heroic woman stories, but the love narratives had started to lose some of their appeal. The release of a new Meg Ryan/Tom Hanks vehicle seemed far less interesting to me than the latest installment of the Alien movie franchise. Had I lost interest in romance? Far from it. In fact, this was at the time in my life when I was very serious about finding a great love. However, I was also struggling to be my own person, to understand my identity, to follow my own dreams and start down my chosen career path. I had plans to travel the world, to attend graduate school. I was coming into—and exercising—my own forms of strength and independence. But I was tired of the one-sided representations of male-identified characters doing this, of feeling that only one version of this kind of empowerment existed. I wanted balance and social justice. I wanted to see more evidence of women on screen doing the same, women making a difference, doing something amazing, and being the heroes of their own lives and stories. Unfortunately, there weren’t very many female-bodied characters who did that who also got to find love. In fact, the more romance a woman enjoyed in a narrative, the less strength or independence of any kind she expressed in the story, especially before the last two decades. (3)

It is curious that the #MeToo movement is concerned only with gender representation in particular occupational categories. For instance, most HVAC and refrigeration installers and mechanics are men, yet there is little outcry about getting more girls into vocational training for these jobs. Similarly, virtually all workers in the carting, moving, trucking, and mining industries are males, but female underrepresentation in these high-injury and high-fatality occupations has not sparked celebrity outrage.

Kamala Harris is the female representation that we've all been waiting for. She is a good example in showing that women, black women, can lead key countries too.

This is not to say that there are no structural solutions. Take the issue of women being interrupted. An analysis of fifteen years of Supreme Court oral arguments found that ‘men interrupt more than women, and they particularly interrupt women more than they interrupt other men’.73 This goes for male lawyers (female lawyers weren’t found to interrupt at all) as well as judges, even though lawyers are meant to stop speaking when a justice starts speaking. And, as in the political sphere, the problem seems to have got worse as female representation on the bench has increased

The OECD study also found that women’s words translated into action. As female political representation increased in Greece, Portugal and Switzerland, these countries experienced an increase in educational investment. Conversely, as the proportion of female legislators in Ireland, Italy and Norway decreased in the late 1990s, those countries experienced ‘a comparable drop in educational expenditures as a percentage of GDP’. As little as a single percentage point rise in female legislators was found to increase the ratio of educational expenditure. Similarly, a 2004 Indian study of local councils in West Bengal and Rajasthan found that reserving one-third of the seats for women increased investment in infrastructure related to women’s needs.5 A 2007 paper looking at female representation in India between 1967 and 2001 also found that a 10% increase in female political representation resulted in a 6% increase in ‘the probability that an individual attains primary education in an urban area’.

The coordinated market economies of continental Europe and Japan unintentionally hurt women when they protected labor from layoffs, because women cannot compete with men in committing credibly to human capital accumulation over long careers. Although female political representation tends to be higher in these countries than in the district-based systems of liberal market economies, gender-friendly policies have not yet made much of a dent in many outcomes of concern to women, such as female employment, the gender wage gap, male share of household work, and the ability to have children without negative career effects.

There is a real correspondence between biological and psychological masculinity and femininity on the one hand, and spiritual masculinity and femininity on the other. What one must bear in mind is that the Bodhisattva combines both. This may seem strange, but the Bodhisattva can be described as being psychologically and spiritually bisexual, integrating the masculine and the feminine at every level of his or her psychological and spiritual experience. This is reflected in Buddhist iconography. With some representations of Buddhas and Bodhisattvas it is hard to discern whether the figure is masculine or feminine. This iconographical convention reflects the psychological and spiritual bisexuality of the Bodhisattva, and indeed of any spiritually developed person. The idea, or even ideal, of psychological and spiritual bisexuality is unfamiliar to us in the West today, but it was known to the ancient Gnostics, one of the heretical sects of early Christianity. The teaching was quickly stamped out by the Church, but an interesting passage has been preserved in a work known as the Gospel of Thomas, which was discovered in Egypt as recently as 1945. It isn’t an orthodox Christian work, but it consists of 112 sayings attributed to Jesus after his resurrection. In the twenty-third of these sayings, Jesus is represented as saying: 'When you make the two one, and make the inside like the outside, and the outside like the inside, and the upperside like the underside, and (in such a way) that you make the man (with) the woman a single one, in order that the man is not the man and the woman is not the woman; when you make eyes in place of an eye, and a hand in place of a hand, and a foot in place of a foot, an image in place of an image; then you will go into the Kingdom.' This is not the sort of teaching one normally encounters in church, but it is obviously of profound significance. In the context of Buddhism the idea or concept, and even the practice, of spiritual bisexuality features most graphically in the Tantra, where it is represented not just by the androgynous appearance of the Bodhisattva, but by the symbol of sexual union. Here, ksanti, the feminine aspect of the spiritual life, becomes transcendental wisdom, while energy, the masculine aspect, becomes fully realized as compassion. Thus in Tantric Buddhist art one encounters representations of a mythical form of the Buddha in sexual union with a figure who is sometimes described as the female counterpart to his own masculine form. These images are called yab-yum, yab meaning ‘father’ and yum meaning ‘mother’. They are sometimes regarded in the West as being obscene or even blasphemous, but in Tibet such symbolism is regarded as extremely sacred. It has nothing to do with sexuality in the ordinary sense; it is a representation of the highest consummation, the perfect balance, of ‘femininity’ and ‘masculinity’, wisdom and compassion. Although there are two figures, there are not two persons. There is only one person, one Enlightened person, within whom are united reason and emotion, wisdom and compassion.

Most common of all, however, is an ambiguity of meaning in which different interpretations – even mutually contradictory ones – may be held at the same time. Such interpretive conflict, which might have been regarded as artistic failure in an earlier moment of modernist autonomy or postmodern representational critique, is now regarded as a sign of desirable openness, reflecting the layered reality of experience in our time. It is not a coincidence that the younger photographers cited in this chapter are all women; feminist theory has been very influential in creating a more relativist worldview. The female photographers in this chapter are all starting from the position that identity is something to be negotiated rather than assumed, as reflected in their hybridized versions of portraiture.

Nancy was accused of being unscientific, an enemy of free speech, and a “hysteric,” in the words of the syndicated columnist George Will. The Atlantic dismissed her and other women who objected to Summers as “feminist careerists” seeking “thinly veiled job preferences or quotas for themselves and their friends.” In the New Republic, Steven Pinker, the Harvard psychology professor and author whose book had helped inform Summers, worried that efforts against sex discrimination might push young women into “lines of work they don’t enjoy.” Almost two decades later, there’s still work to do. A landmark report in 2018 by the National Academies of Sciences, Engineering, and Medicine found that 50 percent of female faculty members had experienced sexual harassment, and that the biggest complaint was not “sexual coercion” but put-downs about their intelligence, exclusion, and the kind of marginalization that the women of MIT had described twenty years earlier. But the progress is also undeniable. The MIT report was followed by an explosion in scholarship examining the reasons for the disproportionately low numbers of women in science, technology, engineering, and math, and in strategies to increase their representation and treat them as full participants in their fields. Those efforts have expanded beyond women to include others from traditionally marginalized groups.

What is the point of being represented if it is only our image that is invited to the table?

kitchen as she serves Tony pasta and fills his glass with wine. Within the family structure, Tony, who has no father, is a patriarch who has the role of protecting his sister Cesca’s honour, while Mrs Camonte is the matriarch who guards the family’s morality. Yet the structure of Italian familialism is weakened to the point of being unable to provide a viable social model for American society. Tony is a degraded image of a patriarch whose protection of female honour only leads him to murder Cesca’s new husband Guino. Tony’s actions towards his sister are further represented as a form of incest exemplified in the scene where he rips off her clothes after seeing her dance with another man at the Paradise Club. As Peter Bondanella has noted, in the representation of Tony’s desire for Cesca, the film might even actualize a long Anglo-Saxon tradition of associating Italian cultural heritage with Renaissance duplicity and perverse forms of sexuality evocative of the Borgia family.9 But the film also neutralizes the other dimension of Old World familialism represented by Mother Camonte, whose role as the custodian of the family’s morality fails since she has a son who is a gangster and a daughter whom she cannot protect from her ‘no-good’ boy. Because of the repeated construction of the gangster as an Italian ethnic subject bearing the markers of an ethnicity to be feared for

Since 1971, an iconic image of a silhouetted woman has moved from truck mudflaps into popular culture. She is perceived through the eyes of people who live in different decades. Mudflap Girl has at different times been considered a reflection of male self-image, symbolic of declining family values, and a feminist figure. However, even as an empowered woman, her identity has been problematic. Is she a mainstream inspiration, a subcultural icon or an unrealistic representation of the female form? Is she more than just a two dimensional figure based on her appearance? What is her story? And most mysteriously, who is she?