Pub Date : 2024-07-27DOI: 10.1177/13505068241262899
Anna Chiara Sabatino
During the first lockdown to limit the spread of Covid-19, a new medial scenario has taken shape in all its rich complexity. The proliferation of tentacular info and iconodemic events has presented, in fact, the manifestation and the progression of a double media movement: on the one hand, the amateur involvement in multiple narrative processes, increasingly involving participatory audience and prosumers; on the other hand, the amateurization of cinematic rhetoric and languages, which are reconfigured in a logic of everyday narrativization. Accordingly, based on rule-making creativity, grassroots performances have set a dialogue with canonical and institutional authorship in the wake of the audiovisual narrativization of the Self in everyday life. Within this framework, certain narrative acts occurring during the pandemic have the power to intervene transformatively in the everyday life they record and tell through performative and amateur participation. In this perspective, the article intends to explore two fronts: the process and the contextualization of amateur performances, based on creative prosumers’ participation, within a collective yet cinematic project; second, the impact and the role of audiovisuals as reparative media leading to beneficial self-telling practices. For such purpose, through the illustration of emblematic collective projects, the essay questions the potentially transformative and beneficial nature of self-representational and audiovisual performances that characterize pandemic and postpandemic mediascape.
{"title":"Pandemic narra(c)tions. Collective audiovisual configurations and participatory self-care","authors":"Anna Chiara Sabatino","doi":"10.1177/13505068241262899","DOIUrl":"https://doi.org/10.1177/13505068241262899","url":null,"abstract":"During the first lockdown to limit the spread of Covid-19, a new medial scenario has taken shape in all its rich complexity. The proliferation of tentacular info and iconodemic events has presented, in fact, the manifestation and the progression of a double media movement: on the one hand, the amateur involvement in multiple narrative processes, increasingly involving participatory audience and prosumers; on the other hand, the amateurization of cinematic rhetoric and languages, which are reconfigured in a logic of everyday narrativization. Accordingly, based on rule-making creativity, grassroots performances have set a dialogue with canonical and institutional authorship in the wake of the audiovisual narrativization of the Self in everyday life. Within this framework, certain narrative acts occurring during the pandemic have the power to intervene transformatively in the everyday life they record and tell through performative and amateur participation. In this perspective, the article intends to explore two fronts: the process and the contextualization of amateur performances, based on creative prosumers’ participation, within a collective yet cinematic project; second, the impact and the role of audiovisuals as reparative media leading to beneficial self-telling practices. For such purpose, through the illustration of emblematic collective projects, the essay questions the potentially transformative and beneficial nature of self-representational and audiovisual performances that characterize pandemic and postpandemic mediascape.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"87 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141797834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-27DOI: 10.1177/13505068241262774
Rossana Galimi, Barbara Grespi
The purpose of this contribution is to analyse the Mascarilla 19 project, which premiered at the Italian film and contemporary art festival ‘Lo schermo dell’arte’ in 2020. The project was commissioned and produced by In Between Art Film, Beatrice Bulgari’s production company, and curated by Leonardo Bigazzi, Alessandro Rabottini and Paola Ugolini. In Spain, ‘Mascarilla 19’ served as a codeword used by women victims of domestic violence in grocery shops or pharmacies to denounce abuse. This project consists of eight films that explore the ‘emergency within the emergency’ of domestic violence, increased during the COVID-19 pandemic. A key focus of Mascarilla 19 is the transformation of the domestic space into a closed circuit of surveillance, both as self-surveillance (accomplished through the re-mediation of faces and gestures in video conference platforms) and as constant exposure to the mediated and disciplining gaze of screens, that embody a new male media gaze. Accordingly, this article aims to examine the capacity of pandemic media to reshape affective networks and produce physical and psychological violence, especially in the framework of patriarchal relationships.
本文旨在分析《Mascarilla 19》项目，该项目于 2020 年在意大利电影和当代艺术节 "Lo schermo dell'arte "上首映。该项目由比阿特丽斯-宝格丽（Beatrice Bulgari）的制片公司 In Between Art Film 委托制作，并由莱昂纳多-比加齐（Leonardo Bigazzi）、亚历山德罗-拉博蒂尼（Alessandro Rabottini）和宝拉-乌戈里尼（Paola Ugolini）担任策展人。在西班牙，"Mascarilla 19 "是家庭暴力受害妇女在杂货店或药店用来谴责虐待行为的代号。该项目由八部电影组成，探讨在 COVID-19 大流行期间愈演愈烈的家庭暴力 "紧急中的紧急"。Mascarilla 19》的一个重点是将家庭空间转变为一个封闭的监视回路，既是自我监视（通过视频会议平台对脸部和手势的再媒介化来实现），也是持续暴露在屏幕的媒介化和纪律性凝视下，体现了一种新的男性媒体凝视。因此，本文旨在研究大流行媒体重塑情感网络并产生身体和心理暴力的能力，尤其是在父权关系的框架内。
{"title":"Domestic closed circuits (of violence)","authors":"Rossana Galimi, Barbara Grespi","doi":"10.1177/13505068241262774","DOIUrl":"https://doi.org/10.1177/13505068241262774","url":null,"abstract":"The purpose of this contribution is to analyse the Mascarilla 19 project, which premiered at the Italian film and contemporary art festival ‘Lo schermo dell’arte’ in 2020. The project was commissioned and produced by In Between Art Film, Beatrice Bulgari’s production company, and curated by Leonardo Bigazzi, Alessandro Rabottini and Paola Ugolini. In Spain, ‘Mascarilla 19’ served as a codeword used by women victims of domestic violence in grocery shops or pharmacies to denounce abuse. This project consists of eight films that explore the ‘emergency within the emergency’ of domestic violence, increased during the COVID-19 pandemic. A key focus of Mascarilla 19 is the transformation of the domestic space into a closed circuit of surveillance, both as self-surveillance (accomplished through the re-mediation of faces and gestures in video conference platforms) and as constant exposure to the mediated and disciplining gaze of screens, that embody a new male media gaze. Accordingly, this article aims to examine the capacity of pandemic media to reshape affective networks and produce physical and psychological violence, especially in the framework of patriarchal relationships.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"90 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141797921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-27DOI: 10.1177/13505068241262903
Giulio Galimberti, Nicole Miglio
The enforcement of social distancing measures and lockdowns across the globe to control the spread of Covid-19 has led to various forms of tactile deprivation. While social interactions became less accessible for some groups of people, this deprivation brought a re-emphasis of the importance of social touch. The label affective haptic devices (AHDs) has been used to address a plethora of digital media promptly assembled to help people to compensate for their lack of affective touch. By simulating the experience of touch through digital devices, we witness a potential re-negotiation of the human/non-human divide and a productive means to challenge the boundaries of human skin. Our contribution – organized in the sections (i) Tactile deprivation; (ii) Replacing social touch; (iii) Towards a feminist understanding of extended touch – then aims to investigate the cyborg dimension of extended touch for raising further questions on the role of touch in defining the human being.
{"title":"Touching through distance: Cyborg affective touch during Covid-19 pandemic","authors":"Giulio Galimberti, Nicole Miglio","doi":"10.1177/13505068241262903","DOIUrl":"https://doi.org/10.1177/13505068241262903","url":null,"abstract":"The enforcement of social distancing measures and lockdowns across the globe to control the spread of Covid-19 has led to various forms of tactile deprivation. While social interactions became less accessible for some groups of people, this deprivation brought a re-emphasis of the importance of social touch. The label affective haptic devices (AHDs) has been used to address a plethora of digital media promptly assembled to help people to compensate for their lack of affective touch. By simulating the experience of touch through digital devices, we witness a potential re-negotiation of the human/non-human divide and a productive means to challenge the boundaries of human skin. Our contribution – organized in the sections (i) Tactile deprivation; (ii) Replacing social touch; (iii) Towards a feminist understanding of extended touch – then aims to investigate the cyborg dimension of extended touch for raising further questions on the role of touch in defining the human being.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"92 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141797801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-24DOI: 10.1177/13505068241262923
Raffaella Tartaglia
This text explores the evolving landscape of performance art in the face of pandemic restrictions, shedding light on the repercussions of audience deprivation and the subsequent exploration of digital platforms as a means of artistic expression. Focusing on some artistic performances of Alisa Oleva, the text investigates how her exploration of touching and walking as a medium influences the understanding of urban landscapes. By using the city as her studio and manipulating everyday life, Oleva uncovers the hidden stories and meanings embedded within inside and outside spaces, to examine questions related to women’s histories, traces, and surfaces. In particular, we focus on Walking Home (2020), a performance that, in addition to providing an interesting example of walking as an aesthetic practice, raises political and activist questions, such as how the pandemic-induced confinement masks deeper issues, namely the safety of the domestic environment for those who identify themself as women. Through various performances, we delve into the theme of seeing and touching, emphasising the significance of sensory perception as embodied human beings. Moreover, the text highlights how our passages and connections with different environments contribute to shaping the very meaning of the places we encounter in the world. In addition, the text acknowledges the transformative power of personal experiences in crafting the narrative of our collective story.
{"title":"Unveiling urban landscapes: Alisa Oleva’s performances during the pandemic","authors":"Raffaella Tartaglia","doi":"10.1177/13505068241262923","DOIUrl":"https://doi.org/10.1177/13505068241262923","url":null,"abstract":"This text explores the evolving landscape of performance art in the face of pandemic restrictions, shedding light on the repercussions of audience deprivation and the subsequent exploration of digital platforms as a means of artistic expression. Focusing on some artistic performances of Alisa Oleva, the text investigates how her exploration of touching and walking as a medium influences the understanding of urban landscapes. By using the city as her studio and manipulating everyday life, Oleva uncovers the hidden stories and meanings embedded within inside and outside spaces, to examine questions related to women’s histories, traces, and surfaces. In particular, we focus on Walking Home (2020), a performance that, in addition to providing an interesting example of walking as an aesthetic practice, raises political and activist questions, such as how the pandemic-induced confinement masks deeper issues, namely the safety of the domestic environment for those who identify themself as women. Through various performances, we delve into the theme of seeing and touching, emphasising the significance of sensory perception as embodied human beings. Moreover, the text highlights how our passages and connections with different environments contribute to shaping the very meaning of the places we encounter in the world. In addition, the text acknowledges the transformative power of personal experiences in crafting the narrative of our collective story.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"18 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141806087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13505068241262915
Masha Bratischeva
{"title":"Book Review: Women, Nationalism, and Social Networks in the Habsburg Monarchy, 1848–1918","authors":"Masha Bratischeva","doi":"10.1177/13505068241262915","DOIUrl":"https://doi.org/10.1177/13505068241262915","url":null,"abstract":"","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141812914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13505068241264935
Orianna Calderón-Sandoval, Maria Jansson
Gender equality measures are now common in the policies of European film industries and can be an important tool for rendering visible gender inequalities. Recent research, however, indicates that top-down institutional gender mainstreaming might mean better conditions for some women in certain aspects, but structural inequalities tend to remain, including lack of an intersectional approach. In this article, these issues are addressed by analysing gender equality policies currently implemented in the Swedish and Spanish film industries. Following Carole Lee Bacchi’s argument that the way in which a problem is represented must be analysed backwards, by looking at the solutions suggested, we unpack what inequalities gender equality measures render visible and, in so doing, highlight the aspects that remain invisible. We also discuss how such problem representation plays out for women in the film industries of both countries and consider the counter-practices women deploy to cope with continuing gender inequality in the film industries of Spain and Sweden. Our main argument is that Swedish and Spanish gender equality policies, despite having increased the presence of women film workers, still fail to render visible the structural basis of inequalities cemented by androcentric film governance structures and a male norm around which the film industry has been built.
在欧洲电影业的政策中，性别平等措施现已十分普遍，可以成为彰显性别不平等的重 要工具。然而，最近的研究表明，自上而下的制度性性别主流化可能意味着某些妇女在某些方面获得了更好的条件，但结构性不平等往往依然存在，包括缺乏交叉方法。本文通过分析瑞典和西班牙电影业目前实施的性别平等政策来探讨这些问题。卡洛-李-巴奇（Carole Lee Bacchi）认为，必须对问题的表现方式进行反向分析，通过研究建议的解决方案，我们揭示了性别平等措施使哪些不平等现象变得可见，并以此强调了仍然不可见的方面。我们还讨论了在这两个国家的电影业中，这种问题的表述是如何体现在妇女身上的，并考虑了在西班牙和瑞典的电影业中，妇女为应对持续的性别不平等而采取的反制措施。我们的主要论点是，尽管瑞典和西班牙的性别平等政策增加了女性电影工作者的人数，但仍未能使以男性为中心的电影管理结构和电影业所围绕的男性规范所固化的不平等的结构性基础显现出来。
{"title":"Comparing gender equality policies in the Swedish and Spanish film industries: Defining the problem beyond the male norm","authors":"Orianna Calderón-Sandoval, Maria Jansson","doi":"10.1177/13505068241264935","DOIUrl":"https://doi.org/10.1177/13505068241264935","url":null,"abstract":"Gender equality measures are now common in the policies of European film industries and can be an important tool for rendering visible gender inequalities. Recent research, however, indicates that top-down institutional gender mainstreaming might mean better conditions for some women in certain aspects, but structural inequalities tend to remain, including lack of an intersectional approach. In this article, these issues are addressed by analysing gender equality policies currently implemented in the Swedish and Spanish film industries. Following Carole Lee Bacchi’s argument that the way in which a problem is represented must be analysed backwards, by looking at the solutions suggested, we unpack what inequalities gender equality measures render visible and, in so doing, highlight the aspects that remain invisible. We also discuss how such problem representation plays out for women in the film industries of both countries and consider the counter-practices women deploy to cope with continuing gender inequality in the film industries of Spain and Sweden. Our main argument is that Swedish and Spanish gender equality policies, despite having increased the presence of women film workers, still fail to render visible the structural basis of inequalities cemented by androcentric film governance structures and a male norm around which the film industry has been built.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"61 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141813068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13505068241262128
Arianna Mainardi, Sveva Magaraggia
The article aims to explore the centrality in young women’s life of the affective assemblages that took shape in their relationship with digital media during the pandemic, particularly fostered by the use of dating apps. Emotional and affective connection is and has been prevented by the pandemic in the form of physical distancing and the risk of contagion, but also by regulations that in some states, such as Italy, have only recognised legitimate familial relationships to grant permission to mobility (like marriage, birth family). So, what happens when people cannot take care and be sustained by their affective web of relationships? On one hand, this negative situation limited desire, mutual sharing, and pleasure as potential pushes for social change, and on the other hand, it opened up new mediated spaces in which to cultivate different and unexpected effects and relationships. Therefore, the article looks at the role of the affective realm as a political space linked to social change, and explores the use of dating apps by young women during the pandemic as an element of a broader affective assemblage. The article follows a subgroup of young women who used dating apps during the Covid lockdown over the three waves of interviews. The young women are aged 24–30 years and have been encountered as a part of a longitudinal research project on the transition to adulthood in Italy conducted from 2020 to 2022. Specifically, it focuses on those biographies of youth who are not in a stable romantic relationship, and often live alone, and who have therefore experienced unprecedented forms of emotional/affective isolation and have recurred to dating apps for different purposes. The goal here is to analyse the unexpected uses of these apps – not only centred in erotic or romantic purpose – and the online (and sometimes offline) relationships that ensue: for example, making sense of rarefied and solitary time, building relations of care in everyday life. These assemblages – made up of bodies, digital media, and affects – intervene in the current context of normalised crisis and precarity, characterised by a digitally saturated environment, giving the possibility to young people to produce and enjoy spaces for non-normative/linear/straight desire and sharing that go beyond the pandemic.
{"title":"Young women, dating apps, and affective assemblages in the time of pandemic: No relationship is a linear transition to a fixed point","authors":"Arianna Mainardi, Sveva Magaraggia","doi":"10.1177/13505068241262128","DOIUrl":"https://doi.org/10.1177/13505068241262128","url":null,"abstract":"The article aims to explore the centrality in young women’s life of the affective assemblages that took shape in their relationship with digital media during the pandemic, particularly fostered by the use of dating apps. Emotional and affective connection is and has been prevented by the pandemic in the form of physical distancing and the risk of contagion, but also by regulations that in some states, such as Italy, have only recognised legitimate familial relationships to grant permission to mobility (like marriage, birth family). So, what happens when people cannot take care and be sustained by their affective web of relationships? On one hand, this negative situation limited desire, mutual sharing, and pleasure as potential pushes for social change, and on the other hand, it opened up new mediated spaces in which to cultivate different and unexpected effects and relationships. Therefore, the article looks at the role of the affective realm as a political space linked to social change, and explores the use of dating apps by young women during the pandemic as an element of a broader affective assemblage. The article follows a subgroup of young women who used dating apps during the Covid lockdown over the three waves of interviews. The young women are aged 24–30 years and have been encountered as a part of a longitudinal research project on the transition to adulthood in Italy conducted from 2020 to 2022. Specifically, it focuses on those biographies of youth who are not in a stable romantic relationship, and often live alone, and who have therefore experienced unprecedented forms of emotional/affective isolation and have recurred to dating apps for different purposes. The goal here is to analyse the unexpected uses of these apps – not only centred in erotic or romantic purpose – and the online (and sometimes offline) relationships that ensue: for example, making sense of rarefied and solitary time, building relations of care in everyday life. These assemblages – made up of bodies, digital media, and affects – intervene in the current context of normalised crisis and precarity, characterised by a digitally saturated environment, giving the possibility to young people to produce and enjoy spaces for non-normative/linear/straight desire and sharing that go beyond the pandemic.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"91 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141812420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-23DOI: 10.1177/13505068241262228
Maria Elena D’Amelio
The work of content creators and digital activists Francesca Fiore and Sarah Malnerich actively engages their followers to criticize both the outdated model of Italian maternalism and the current neoliberal discourse of intensive motherhood. Through their blog and Facebook and Instagram accounts, @mammadimerda, Fiore and Malnerich actively rebuke and critique the proliferation of media images of intensive motherhood as normative and successful. In particular, Fiore and Malnerich take issue with both the sacrificial mother model and the new momism neoliberal idea of the super-mom. They use the self-branding non-farcela (we can’t make it) motto as a feminist critique of gendered parental roles and systemic inequality in the workplace. In their stories and posts, they invite followers to share their experiences as ‘imperfect’ mothers, and they start and promote calls for action on better governmental policies for working mothers. For instance, during the COVID-19 pandemic, Fiore and Malnerich actively mobilized their followers, creating petitions and social media campaigns aimed at pushing the government to re-open schools or provide financial aid in support of women’s employment. In this article, I interview Fiore and Malnerich about their digital activism on mothers and women’s rights in Italy, focusing on their campaigns on gender equality during the COVID-19 pandemic.
{"title":"Motherhood rights and digital activism: An interview with Francesca Fiore and Sarah Malnerich, content creators of the account @mammadimerda","authors":"Maria Elena D’Amelio","doi":"10.1177/13505068241262228","DOIUrl":"https://doi.org/10.1177/13505068241262228","url":null,"abstract":"The work of content creators and digital activists Francesca Fiore and Sarah Malnerich actively engages their followers to criticize both the outdated model of Italian maternalism and the current neoliberal discourse of intensive motherhood. Through their blog and Facebook and Instagram accounts, @mammadimerda, Fiore and Malnerich actively rebuke and critique the proliferation of media images of intensive motherhood as normative and successful. In particular, Fiore and Malnerich take issue with both the sacrificial mother model and the new momism neoliberal idea of the super-mom. They use the self-branding non-farcela (we can’t make it) motto as a feminist critique of gendered parental roles and systemic inequality in the workplace. In their stories and posts, they invite followers to share their experiences as ‘imperfect’ mothers, and they start and promote calls for action on better governmental policies for working mothers. For instance, during the COVID-19 pandemic, Fiore and Malnerich actively mobilized their followers, creating petitions and social media campaigns aimed at pushing the government to re-open schools or provide financial aid in support of women’s employment. In this article, I interview Fiore and Malnerich about their digital activism on mothers and women’s rights in Italy, focusing on their campaigns on gender equality during the COVID-19 pandemic.","PeriodicalId":312959,"journal":{"name":"European Journal of Women's Studies","volume":"85 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141812857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-10DOI: 10.1177/13505068241258031
M. Kolářová
Recently, there has been renewed interest in homemaking and domestic practices and the revival of domesticity has become related with pro-environmental values and sustainable lifestyles in Western societies. The turn to domesticity tends to be associated with women. While some authors warn of a return to traditional gender roles within the household, others view eco-domesticity as a feminist project that values domestic practices. This article considers the gender-specific aspects of the revival in a post-socialist country and focuses on the gendered aspects of new domesticity. Specifically, it studies the gendered discourses and practices within eco-domesticity in Czechia, which include sustainable consumption, green prosumption and alternative parenting practices. Can the eco-conscious reclaiming of domesticity be viewed as a new form of feminism in Czechia? The study is based on a qualitative sociological research using in-depth interviews, participant observation and media analyses. It is argued here that this new 21st-century domesticity should be understood through the context of the Czech state’s lengthy maternity/parental leave period, which leads to temporary domesticity. The examples of active fathers and self-reliant mothers undermine the traditional division of labour. Caring roles among men in the family are highly valued in eco-domesticity, and alternative gender roles are part of alternative sustainable lifestyles. Care in the home expands to collective activities of parents in community centres and other community projects and decreases the isolation of parents at home. Although inspired by trends from abroad, informants do not perceive eco-domesticity to be a new wave of feminism in Czechia.
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