TY - JOUR A1 - Adreeva, Anna T1 - Frauenfilmdramaturgie im Russischen Kaiserreich der 1910er Jahre BT - Film, Media and Digital Cultures of Central and Eastern Europe JF - Apparatus N2 - Im Artikel werden von Frauen verfasste Filmdrehbücher der 1910er Jahre im Russischen Kaiserreich chronologisch untersucht. Zunächst werden die ersten Drehbuchautorinnen Makarova und Tat’jana Suchotina-Tolstaja, die am Anfang der 1910er Jahre in Koautorschaft mit den bekannten Autoren (Makarova mit den Regisseur Vladimir Gončarov; Suchotina-Tolstaja mit ihrem Vater Leo Tolstoj) arbeiteten, und ihre Filme in Betracht gezogen. Dann wird der Film Ključi sčastʹja / Schlüssel zum Glück (Vladimir Gardin, Jakov Protazanov, 1913, Russisches Kaiserreich) nach dem Roman von Anastasija Verbickaja näher behandelt. Verbickajas Film demonstrierte, dass eine Drehbuchautorin eine selbständige Autorin sein kann und diente als Impuls für die Entwicklung der Frauenfilmdramaturgie im Russischen Kaiserreich, deren Aufschwung in der zweiten Hälfte der 1910er Jahre begann, und prägte bestimmte Erwartungen von auf weiblichen Drehbüchern basierenden Filmen. Maria Kallaš, die an den Drehbüchern zu den Verfilmungen des russischen literarischen Kanons 1913 arbeitete, kritisierte Verbickajas Text als pseudofeministisch und behauptete in ihrem Essay „Ženskie kabare“ („Frauenkabarett“), dass Frauenliteratur noch „keine eigene Sprache“ habe (1916). Anna Mar begann ihre Arbeit im Kino 1914, parallel zu Verbiсkajas Nachfolgerinnen, und konzentrierte sich in ihren Filmen auf die soziale Problematik – die Stellung moderner Frauen in der Gesellschaft. Damit eröffnete Mar eine neue Entwicklungsperspektive für das weibliche Drehbuchschreiben. N2 - This article provides a chronological examination of women’s screenwriting in the 1910s in the Russian Empire. The first women screenwriters, Makarova and Tat’iana Suchotina-Tolstaia, worked in the early 1910s as co-authors with popular men writers (Makarova with the director Vladimir Goncharov and Sukhotina-Tolstaia with her father Lev Tolstoi). The film Kliuchi schast’ia / The Keys to Happiness (Vladimir Gardin, Iakov Protazanov, 1913, Russian Empire), based on Anastasiia Verbitskaia’s novel of the same title, proved that a woman screenwriter could be an independent author, influencing the development of women’s screenwriting in the Russian Empire, which took off in the second half of the 1910s, creating certain expectations for films written by women. Mariia Kallash, who worked on the screenplays for film adaptations of the Russian literary canon in 1913, criticised Verbitskaia’s text for its pseudo-feminism and claimed, in her essay “Women’s Cabaret”, that women’s literature still “did not have its own language” (1916). Anna Mar wrote for the screen in the second half of the 1910s, at the same time as Verbitskaia’s successors. In Mar’s screenplays, she focused on social problems and particularly on women’s position in modern society, suggesting a different perspective for women’s screenwriting in the Russian Empire. N2 - В настоящей статье речь пойдет о женской кинодраматургии 1910-х гг. в Российской империи. Сперва мы восстановим творческую судьбу первых сценаристок Макаровой и Татьяны Сухотиной-Толстой, которые работали в соавторстве с известными -авторами-мужчинами (Макарова – с режиссером Владимиром Гончаровым; Сухотина-Толстая – со своим отцом Львом Толстым) на рубеже 1910-х гг. Затем подробнее остановимся на фильме Ключи счастья (Владимир Гардин, Яков Протазанов, 1913, Российская империя) по одноименному роману Анастасии Вербицкой, которая считается автором сценария картины. Фильм Ключи счастья показал, что женщина может быть независимым автором, послужил толчком к развитию женской драматургии в Российской империи, подъем которой начался во второй половине 1910-х гг., и сформировал определенные ожидания от фильмов по сценариям, написанными авторами-женщинами. Мария Каллаш, автор экранизаций текстов русской литературы, раскритиковала роман Вербицкой за псевдофеминизм и в эссе «Женские кабаре» заявила, что женская литература до сих пор «не имеет своего собственного языка» (1916). Анна Мар пришла в кино в 1914 году одновременно с преемниками Вербицкой и сосредоточилась в своих фильмах на социальной проблематике, а именно – на положении современных женщин в обществе. Тем самым Мар предложила новую перспективу для развития женского киносценария. T2 - Women’s Screenwriting of the 1910s in the Russian Empire T2 - Женская кинодраматургия в Российской империи 1910-х годов KW - Anastasija Verbickaja KW - Maria Kallaš KW - Anna Mar KW - Rovdo KW - Antalek KW - Russisches K​a​iserreich KW - frühes russländisches Kino KW - Frauenfilmdramaturgie KW - Frauenliteratur KW - Feminismus KW - Drehbuch KW - Анастасия Вербицкая KW - Мария Каллаш KW - Анна Мар KW - Ровдо KW - Анталек KW - Российская империя KW - раннее российское кино KW - женская кинодраматургия KW - женская литература KW - феминизм KW - feminism KW - women’s literature KW - women’s screenwriting KW - early cinema in the Russian Empire KW - Russian Empire KW - Antalek KW - Rovdo KW - Anna Mar KW - Mariia Kallash KW - Anastasiia Verbitskaia KW - screenplays KW - scripts KW - сценарий Y1 - 2022 U6 - https://doi.org/10.17892/app.2022.00015.270 SN - 2365-7758 VL - 13 CY - Berlin ER - TY - JOUR A1 - Colbert, Vivian ED - Rollinger, Christian T1 - Queen Zenobia’s ‘Campaign’ for British Women’s Suffrage JF - thersites 12 N2 - This article focuses on the feminist reception of Zenobia of Palmyra in Great Britain during the long nineteenth century and the early twentieth century. A special focus lies on her reception by the British suffragettes who belonged to the Women’s Social and Political Union. Even though Zenobia’s story did not end happily, the warrior queen’s example served to inspire these early feminists. Several products of historical culture – such as books, pieces of art, newspaper articles and theatre plays – provide insight into the reception of her as an historical figure, which is dominated by the image of a strong and courageous woman. The article will shed light on how exactly Zenobia’s example was instrumentalised throughout the first feminist movement in Britain. KW - Zenobia KW - reception studies KW - British suffrage movement KW - nineteenth century KW - feminism Y1 - 2021 U6 - https://doi.org/0.34679/thersites.vol12.186 SN - 2364-7612 VL - 2020 IS - 12 SP - 71 EP - 94 ER - TY - GEN A1 - Löckmann, Teresa A1 - Schneider, Matthias T1 - Geschlechtergerechtigkeit im Verbraucher_innenschutz? T2 - Genderblog KW - #4genderstudies KW - #AusDemDigitalenSeminarraum KW - #AusdemSeminarraum KW - #MeinSchreibtisch KW - #nachgefragt KW - Aktivismus KW - Arbeit KW - Archiv KW - BlackLivesMatter KW - care KW - Corona KW - DDR KW - Digitalisierung KW - Elternschaft KW - Familie KW - feminism KW - Feminismus KW - Frauengeschichte KW - Gender KW - Gendering MINT digital Gender Studies KW - Geschlechterforschung KW - Geschlechterverhältnisse KW - Gleichstellung KW - HIV KW - Intersektionalität KW - Literatur KW - Migration KW - MINT KW - Männlichkeit KW - Open Access KW - Podcast KW - Queer KW - Rassismus KW - Recht KW - Sexismus KW - Sexuelle Bildung KW - Studierenden-Stimmen KW - Symposium KW - Tagung KW - teengirl culture KW - trans* KW - Wissenschaftskommunikation KW - Wissenschaftstag KW - Wissensproduktion Y1 - 2022 UR - https://genderblog.hu-berlin.de/geschlechtergerechtigkeit-im-verbraucher_innenschutz/ PB - Zentrum für transdisziplinäre Geschlechterstudien an der Humboldt-Universität zu Berlin CY - Berlin ER - TY - JOUR A1 - Rothermel, Ann-Kathrin T1 - Gender in the United Nations’ agenda on Preventing and Countering Violent Extremism JF - International feminist journal of politics N2 - The United Nations (UN) policy agenda on Preventing and Countering Violent Extremism (P/CVE) promotes a “holistic” approach to counterterrorism, which includes elements traditionally found in security and development programs. Advocates of the agenda increasingly emphasize the importance of gender mainstreaming for counterterrorism goals. In this article, I scrutinize the merging of the goals of gender equality, security, and development into a global agenda for counterterrorism. A critical feminist discourse-analytical reading of gender representations in P/CVE shows how problematic imageries of women as victims, economic entrepreneurs, and peacemakers from both the UN’s Sustainable Development Goals and the Women, Peace and Security agenda are reproduced in core UN documents advocating for a “holistic” P/CVE approach. By highlighting the tensions that are produced by efforts to merge the different gender discourses across the UN’s security and development institutions, the article underlines the relevance of considering the particular position of P/CVE at the security–development nexus for further gender-sensitive analysis and policies of counterterrorism. KW - Counterterrorism KW - gender mainstreaming KW - security–development nexus KW - discourse KW - United Nations KW - feminism Y1 - 2020 U6 - https://doi.org/10.1080/14616742.2020.1827967 SN - 1461-6742 SN - 1468-4470 VL - 22 IS - 5 SP - 720 EP - 741 PB - Taylor & Francis CY - London ER - TY - JOUR A1 - Rothermel, Ann-Kathrin T1 - Gender at the crossroads BT - the role of gender in the UN’s global counterterrorism reform at the humanitarian-development-peace nexus JF - Critical studies on terrorism N2 - Since the early 2000s, the United Nations (UN) global counterterrorism architecture has seen significant changes towards increased multilateralism, a focus on prevention, and inter-institutional coordination across the UN’s three pillars of work. Throughout this reform process, gender aspects have increasingly become presented as a “cross-cutting” theme. In this article, I investigate the role of gender in the UN’s counterterrorism reform process at the humanitarian-development-peace nexus, or “triple nexus”, from a feminist institutionalist perspective. I conduct a feminist discourse analysis of the counterterrorism discourses of three UN entities, which represent the different UN pillars of peace and security (DPO), development (UNDP), and humanitarianism and human rights (OHCHR). The article examines the role of gender in the inter-institutional reform process by focusing on the changes, overlaps and differences in the discursive production of gender in the entities’ counterterrorism agendas over time and in two recent UN counterterrorism conferences. I find that gendered dynamics of nested newness and institutional layering have played an essential role both as a justification for the involvement of individual entities in counterterrorism and as a vehicle for inter-institutional cooperation and struggle for discursive power. KW - gender KW - institutions KW - feminism KW - United Nations KW - counterterrorism KW - triple nexus KW - discourse Y1 - 2021 U6 - https://doi.org/10.1080/17539153.2021.1969061 SN - 1753-9153 SN - 1753-9161 VL - 15 IS - 3 SP - 533 EP - 558 PB - Routledge, Taylor & Francis Group CY - London [u.a.] ER -