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Adriana Zaharijević, Kristen Ghodsee, Efi Kanner, Árpád von Klimó, Matthew Stibbe, Tatiana Zhurzhenko, Žarka Svirčev, Agata Ignaciuk, Sophia Kuhnle, Ana Miškovska Kajevska, Chiara Bonfiglioli, Marina Hughson, Sanja Petrović Todosijević, Enriketa Papa-Pandelejmoni, Stanislava Barać, Ayşe Durakbaşa, Selin Çağatay, and Agnieszka Mrozik

and the Disquiet of Silence,” experiments with the “how.” Athanasiou wants to understand how standing still and in silence—two distinguishing marks of Women in Black's acting —can be rethought in an agonistic vein, or possibly as the model agonistic

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Female Agrarian Workers in Early Twentieth-Century Hungary

The Making of Class- and Gender-Based Solidarities

Susan Zimmermann and Nagy Piroska

(modeled after Great Britain), as well as other far-reaching social, political, and educational demands. The demand for women’s suffrage formed part of the program. The concluding sentence of the document, addressing the Feminist Association as the

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Issues of Gender Representation in Modern Greek Art

The Case of Thaleia Flora-Caravia's Photographic Images and Self-Portraits

Despoina Tsourgianni

interesting to point out the ways in which such a photograph dramatizes and at the same time radicalizes the modern female model as opposed to the male one. One woman, a professional painter, finds herself literally in the cross fire, depicting military

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Ten Years After

Communism and Feminism Revisited

Francisca de Haan, Kristen Ghodsee, Krassimira Daskalova, Magdalena Grabowska, Jasmina Lukić, Chiara Bonfiglioli, Raluca Maria Popa, and Alexandra Ghit

Soviet Scholarship” that historian Sheila Fitzpatrick identified in 2007, by which she meant the English-language historical scholarship about the Soviet Union of the 1970s and 1980s that successfully challenged the reigning totalitarian model

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Selin Çağatay, Olesya Khromeychuk, Stanimir Panayotov, Zlatina Bogdanova, Margarita Karamihova, and Angelina Vacheva

philosophical thought, FP becomes the model of continental impasses with subjectivity and embodiment; it produces its own impossibility of the Outside. These two problems are to a great extent successfully addressed in the book with feminist bravery and surgical

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Ioana Cîrstocea

. The conference program included several thematic sessions, workshops, and consciousness-raising groups on family, work, sexuality and reproductive health, political participation and representation, models for feminist organizing, and strategies for

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Stiletto Socialism

Social Class, Dressing Up, and Women's Self-Positioning in Socialist Slovenia

Polona Sitar

altered forced social models, although often unintentionally. Slovene women sought their own definitions of emancipation. Resistance to normative rules and values is noticeable among the younger generation of women, who, unlike Sonja's generation

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Elif Mahir Metinsoy

modernization paradigm and its orientalist approach, which stimulate an elite-centered historiography, are the most obvious obstacles for writing about ordinary people, men and women. The modernization paradigm offers a model of a progressive transition from a

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A Gloomy Carnival of Freedom

Sex, Gender, and Emotions among Polish Displaced Person in the Aftermath of World War II

Katarzyna Nowak

for whom these were emergency marriages. 65 While Germans dealt with “the marital crisis” and “the sexual crisis,” Poles attempted to restore the model of marital domesticity within the undomestic space of a refugee camp. 66 The wider context of the

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Love and Sex in Wartime

Controlling Women’s Sexuality in the Ukrainian Nationalist Underground

Marta Havryshko

model female heroine who hadn’t betrayed Ukrainian nationalism” (DARO 30–2-35:8; HDA SBU 13–376-48: 343). 35 Prohrama Orhanizatsii ukrainskykh natsionalistiv [The program of the Organization of Ukrainian Nationalists] (Kiev and Lviv, 1950), HDA SBU 13