"Charlotte Perkins Gilman's novel, Herland, is regarded by many as the pioneering feminist utopian novel. Authored in 1915 (but published as a monograph only in 1978), Herland is intended as a social critique, and as a sociological theorist, Gilman sees herself as a change agent for a better social life for women especially, as well as society in general. Like other intellectuals at the turn of the 20th century, Gilman struggled to theorise her social vision, whilst simultaneously placing great efforts at promoting her vision in a package that is attractive to the masses. By self-consciously distancing herself from the intellectuals of her time, she crafted her works as endeavours at transforming society. With the utopian novel as her genre of choice, Gilman provides readers with a deeper sense of understanding of the ills of a society that subscribes to and is fixated with masculinity. As such, it is the contention of this paper to discuss Gilman's second novel, Herland as a feminist utopian novel critiquing some aspects of culture Gilman describes as androcentric and to briefly link the images portrayed by Gilman in Herland to the Jungian theory of archetypes with some reference to female archetypal images."
(Shahizah Ismail Hamdan and Ravichandran Vengadasamy, 2006)
Shahizah Ismail Hamdan, and Ravichandran Vengadasamy , (2006) Herland and Charlotte Perkin Gilman's Utopian Social Vision of Women And Society. e-BANGI: Jurnal Sains Sosial dan Kemanusiaan, 1 (1). pp. 1-8. ISSN 1823-884x
"Few titles sum up an era and a movement like Spare Rib. When the first issue came out in July 1972, many women were starting to question their position and role in society. The magazine was an active part of the emerging women's liberation movement. It challenged the stereotyping and exploitation of women in what was the first national magazine of its kind. It supported collective, realistic solutions to the hurdles women faced and reached out to women from all backgrounds. Spare Rib became the debating chamber of feminism in the UK. It continued until January 1993 and the full archive of 239 magazines provides a valuable insight into women's lives and this period of feminist activity."
"In early 2006 several activists based in London who are involved in sex worker rights activism, organising within the International Union of Sex Workers in particular, began to conceptualise and organise around the x:talk project–one that would seek to explore and expand the ideas and confidence we have developed in criticising the mainstream human trafficking discourse, drawing on insights we have gained from sex workers', migrant and feminist struggles.
The racist and anti–feminist trafficking rhetoric of 'protection', mainstream anti–trafficking campaigns that reduce women to only passive victims, under the control of organised crime or of cruel men produces and justifies deportation of migrant sex workers and increases the criminalisation and exploitation of workers in the sex industry. It creates divisions between migrants' and sex workers' forms of organisation and resistance.
We found language and communication to be crucial elements to directly challenge and change conditions of work and life, and to come to together and to organise. Communication is in our view central to change. Language is a basic individual and collective power that improves both possibilities to work and possibilities of resistance.
Central to our vision stands the autonomy of all people moving across borders and the dignity of every gender employing their resources in the sex industry. Central to our understanding of gender and social relations is an understanding of sex work as labour. People who sell sex are involved in a labour process in many respects similar to other paid personal services exchanged on market. At the same time we recognise that the ways in which sex work has existed are also deeply interrelated to the ways in which 'female' services, such as caring, domestic, sexual and reproductive activities are supposed to be provided. It is important to consider that the demand for money for sex in a transparent and potentially contractual way is often a break and significant shift in the way women are expected to give these services for no remuneration.
We consider that a feminist analysis and practice is crucial to changing the sex industry. Women represent the majority of workers in the industry and gendered sexualised and reproductive labour have historically constituted a central part in the structures that subordinate and oppress women. The people that have taken the main initiative of this organisation and project are women. Starting from the ground up, in a grass roots way we nevertheless aim to work with the whole industry. Due to the demographics of the workforce in the sex industry, women play a central role in the organisation and are expected to make up a majority of participants in the classes. We/they represent the majority and we/they enjoy the strongest voice at the moment. However issues of gender and transgender difference–at their intersections with racial and sexual issues are taken into account in the development of activities in order to include people from across the industry and from diverse backgrounds.
In contrast to the current mainstream anti–trafficking policies and discourses we work towards the improvement of working conditions in the sex industry; for rights and recognition of workers; the right to change work and not to be forced to stay with the same employer and the right to stay and not to be deported. Our organisation is based on a practice of sex workers self organisation and our projects are primarily built on an activity of networking with those that have already organised similar projects according to these principles."
"Ladies Learning Code is a Toronto–based not–for–profit organization that runs workshops for women (and men) who want to learn beginner–friendly computer programming and other technical skills in a social and collaborative way. Today we have chapters across Canada, a thriving girls' program called Girls Learning Code and a permanent workshop space in Toronto. Oh, and we're just getting started."
"For Study for Inner Improvement (1977), a sequence of photographs in which Almeida looks like she is eating blue paint. There is no question that the colour she is consuming is very similar to that of Yves Klein. She had in the past protested at Klein's use of women as objects in his artworks. At the time of making Study for Inner Improvement, the concept of anthropophagy (cultural cannibalism, the idea of consuming other cultures as a way of asserting independence) was a popular ideology. Almeida's chewing up of Klein's blue, a colour he had come to dominate, was a liberating act for women and artists everywhere."
(Jessica Lack, 7 October 2009, guardian.co.uk)