Sentences with phrase «as a feminist interested»

As a feminist interested in science, I'd love to be friends with this badass advocate for women's rights.

Not exact matches

As our understanding of both the feminist and environmental concerns grows, we find that women are more interested in the restoration of the environment, which provides the family with its basic needs, than their cash - hungry men.

This is part of the approach abolitionists and first wave feminists propose as they developed a method of interpreting Scripture that exposed both theological errors and the self - interest of slave - owner.

Child - care interest groups and their unthinking feminist allies use the rhetoric of «choice» and «quality» and their status as professional educators and guardians of young children to disguise as dispassionate advice what is in fact a political horse trade.

My point about feminism is that many feminists aren't so much interested in equality as they are in the upper hand.

They have husbands, brothers, and fathers, as well as male friends and acquaintances whose interests are assaulted by state - sponsored feminists throughout their lives.

It's interesting to note that, from the small sample pool of fifteen people, the male celeb ratio of feminists to non-feminists seems comparable to female celebrities» — there are some «I'm more of a humanist,» some «I need to do more research,» and some «duh, of course» s. I also wonder how the media would respond to women answering with as much confidence as some of the men did here (for example, Darren Aronofsky's answer: «Yes.

Baumbach is one of cinema's sharpest writers of naturalistic dialogue, capable of ringing out layers of meaning from casual exchanges, and here he's at his pithy best: Bernard's offhand categorization of his student's short story to his teenage son as «very feminist but very interesting» belies depths of misogyny and elitism, while his graceless romantic counsel to Walt leads the teen to ditch his perfectly reasonable girlfriend, Sophie (Halley Feiffer), with the same projectiles of secondhand rhetoric that he unveiled to initially charm her.

The irony is that McDonagh isn't interested in anything as cut - and - dry as a David - versus - Goliath story or a feminist revenge yarn; the empowering version of this movie is the one the writer - director only appears to be making, before veering off into thornier, more ethically complicated dramatic territory.

Diversifying the palette of interest in student voice, Cook - Sather also explores interconnections with postmodern feminists and social critics, as well as recent developments in the medical and legal realms that offer social contexts for engaging participants in institutional transformation.

As more information is revealed about Faith Frank later in the novel, certain issues come to light regarding her role as a feminist and whether the title can still be applicable to her, even when she does not necessarily serve a group of women's immediate best interestAs more information is revealed about Faith Frank later in the novel, certain issues come to light regarding her role as a feminist and whether the title can still be applicable to her, even when she does not necessarily serve a group of women's immediate best interestas a feminist and whether the title can still be applicable to her, even when she does not necessarily serve a group of women's immediate best interests.

It is certainly not realistic to hope that a majority of men, in the arts, or in any other field, will soon see the light and find that it is in their own self - interest to grant complete equality to women, as some feminists optimistically assert, or to maintain that men themselves will soon realize that they are diminished by denying themselves access to traditionally «feminine» realms and emotional reactions.

The feminist's first reaction is to swallow the bait, hook, line and sinker, and to attempt to answer the question as it is put: i.e., to dig up examples of worthy or insufficiently appreciated women artists throughout history; to rehabilitate rather modest, if interesting and productive careers; to «re-discover» forgotten flower - painters or David - followers and make out a case for them; to demonstrate that Berthe Morisot was really less dependent on Manet than one had been led to think — in other words, to engage in the normal activity of the specialist scholar who makes a case for the importance of his very own neglected or minor master.

The film is also embedded with a feminist psychology — EXPORT's longstanding interests in confronting misogyny reaches delirious heights as Anna is psychically tortured by a patriarchal society, whose connection to Nazism is only thinly veiled.

She is not interested, however, in feminist art that «places social critique or politics in the foreground,» acknowledging the feminine, emotional side to artists such as Mike Kelley or Matthew Barney, of whom she was an early collector.

Preciado's research interests include contemporary art and post-1960s conceptualist vanguards such as feminist art and performance art, with a special focus on Latin American art and its diaspora in the United States.

This interest in identity — particularly in relation to gender — is key to Maclean's work, and the way that she uses her body as a medium through which to explore this brings to mind the art of feminist artists such as Cindy Sherman and Lynne Hershman Leeson.

Hayes is interested in the limits of gender as well as the historic and contemporary ways in which feminist and queer political collectives continually expand and constrain gender expression.

Wendy's research interests include legacies of feminist and identity - based practice, as well as the performative and ethical questions around contemporary art production and criticism.

Vogel's research interests include legacies of feminist and identity - based practice, as well as the performative and ethical questions around contemporary art production and criticism.

Her interest lies in feminist histories and female experiences and sees her use of fabric and surface manipulation as an explicitly feminist action.

Her interest in pornography, and what Holland Cotter in The New York Times called a «pathology of glamour,» made for tough going in the 1990s, when she was criticized by some feminists as a sexualizer for its own sake.

As a feminist she had an interesting answer.