A Multicultural Feminist Perspective of the Reconstructed Masculinity Construct

1996 ◽  
Vol 41 (11) ◽  
pp. 1139-1141
Author(s):  
Carlton Parks
Keyword(s):  
Feminist Perspective

How a Feminist Perspective Can Transform Psychology

2000 ◽  
Vol 45 (2) ◽  
pp. 177-178
Author(s):  
Bernice Lott
Keyword(s):  
Feminist Perspective

The Ethical Dimension of Work: A Feminist Perspective

Hypatia ◽  
2005 ◽  
Vol 20 (2) ◽  
pp. 119-134 ◽  
Author(s):  
Sabine Gürtler
Keyword(s):  
Feminist Perspective ◽  
Ethical Dimension

The Unfortunate Misinterpretation of Miss Follett

Public Voices ◽  
2016 ◽  
Vol 13 (2) ◽  
pp. 11 ◽  
Author(s):  
Margaret Stout ◽  
Jeannine M Love
Keyword(s):  
Public Administration ◽  
Social Worker ◽  
Public Service ◽  
Public Intellectual ◽  
Feminist Perspective ◽  
Process Ontology ◽  
Forthcoming Book ◽  
Relational Process

Mary Follett was both a woman in public service in myriad roles from social worker to presidential advisor and a female public intellectual giving voice to what would later be called a feminist perspective. Based on a forthcoming book, this paper summarizes the fullness of Follett’s thinking and discusses the manner in which she is frequently misinterpreted in the literature, arguing that these misunderstandings are due to a lack of awareness of, or ability to grasp, her underlying relational process ontology. Misinterpretations in both the management and public administration literature are considered, ending with a call for scholars in both specializations to reconsider their interpretations from a more in-depth understanding of her work.

Keeping Company with Sondheim’s Women

2014 ◽  
Author(s):  
Stacy Wolf
Keyword(s):  
Musical Theater ◽  
Married Couples ◽  
Feminist Perspective ◽  
The Self ◽  
The Other ◽  
Female Characters ◽  
Other Hand ◽  
The One

This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about a bachelor’s encounters with five married couples and three girlfriends, Sondheim’s female characters occupy a striking range of types within one show. From the bitter, acerbic, thrice-married Joanne to the reluctant bride-to-be Amy, and from the self-described “dumb” “stewardess” April to the free-spirited Marta,Company’s eight women are distillations of femininity, precisely sketched in the short, singular scenes in which they appear.

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