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        <title>Gender Studies Feed</title>
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            <title><![CDATA[Public Discourses about/by Women Migrants and Refugees from Central and Eastern Europe: (in)Visibility and (dis)Empowerment]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0001</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The article, an extensive introduction to this issue’s special section on public discourses about/by women migrants from Central and Eastern Europe, outlines the current scholarly debates as well as the main theoretical and methodological approaches to gender in the context of transnational migration practices, with a focus on labour migration, forced migration and exile. It discusses the core aspects of an intersectionality-driven, social constructionist and postcolonial (adapted to the post-socialist space) approach to the analysis of gendered transnational practices and relations. Within this framework, it proposes to examine how public discourses and positionings construct and deconstruct gendered forms of identification and (dis)empower women migrants and refugees from this space through various modes of public (in)visibility, intersectional articulation of identities and (dis)engagement. The articles in the special section articulate theoretical concepts, such as intersectional “trap” and “displacement,” “agency-in-waiting,” “mediated proximity-distance relationship,” “precarious citizenship” or “microhistorical” media devices, and analytical tools from different areas in qualitative research and discourse studies – thematic analysis, multimodal critical discourse analysis, semio-pragmatics, non-fictional memoir analysis – in empirical work on the symbolic (self-)constructions of Ukrainian, Moldovan, Romanian and Azerbaijani women migrants. They invite both academic and non-academic readers to conversation and (self-)reflection across East-West gendered borders and boundaries.]]></description>
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        <item>
            <title><![CDATA[Intersectional Trap of (in)Visible Identities and Belongings. Between Engagement and Entrapment of Displaced Ukrainian Women Scientists]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0002</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The displacement of Ukrainian women scientists due to the war has created a liminal state of multilocal entanglements, where they sustain emotional and professional ties to Ukraine while navigating the precarious realities of host countries. Despite contributing to Ukraine’s resistance through science diplomacy and advocacy, they face existential dilemmas around return, employment, and family care. EU-based temporary protection and funding schemes offer Ukrainian (women) scholars short-term relief but rarely lead to long-term institutional embeddedness. Instead, these scholars are caught in an intersectional trap, where gender, nationality, and non-hegemonic academic backgrounds hinder access to long-term or tenure-track positions. Based on interviews, autoethnography, and participatory observations in Germany and Italy as contrasting examples, in our study, we explore three coping strategies: engaging with and managing multiple transnational workload shifts, prioritizing professional self-actualization, and exercising a political voice for civic engagement internationally. The findings highlight the need for institutional responses that recognize the structural hierarchies shaped by epistemic injustice and the (in)visible burden of sustaining professional identities across intersecting axes of inequality.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Resilient Adaptation or Reclaimed Agency? Ukrainian Women’s Negotiation of Integration in Romania]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0003</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper adds to the growing body of literature investigating Ukrainian women refugees’ framing of their experience as forced migrants. Using semi-structured interviews with 11 Ukrainian women refugees currently residing in Romania, we explore how these women navigate the complexities of adaptation and integration in Romania. We examine their perception of refugee status, negotiation of belonging to various transnational social spaces and problematization of their lived experiences as women, mothers and main decision-makers of their families. We are equally interested in identifying the factors that empower them to rebuild their lives and foster resilience in the host country. Our analysis shows that resilient adaptation is the result of an accumulation of everyday problem-solving, professional achievement and anchoring in re-invented roles as caregivers and advocates for Ukrainian communities.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Visibility of Ukrainian Women Refugees in the Romanian Public Sphere. Representations and Modes of Engagement]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0004</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The article examines media representations of Ukrainian women refugees in the Romanian public sphere, focusing on their discursive construction from the perspective of audience engagement. Relying on a theoretical framework centred on performative media discourse and the discursive construction of representations, the article explores a heterogeneous corpus comprised of televised news stories, broadcast at different times during the Russo-Ukrainian war. It identifies two modes of engagement, related to various coexisting ways of mediating a relationship of proximity-distance between us (the public) and them (the refugees). The study makes a contribution to (1) the analysis of the (dis)empowerment of women refugees in media discourse in correlation to different ways of exercising individual agency; (2) existing research on the media representation of social actors (and in particular of migrants/refugees) in connection to research on audience engagement through public discourse.]]></description>
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        <item>
            <title><![CDATA[“We Gained Our Independence, But we Lost Our Mothers”: Documenting Post-Communist Female Migration through Home Videos in Otilia Babara’s Love is not an Orange]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0005</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Constructed as a collection of interlaced home videos arranged into a narrative that explores the development and legacy of post-communist female migration, Otilia Babara’s documentary Love Is Not an Orange represents a veracious and profoundly emotional investigation of gendered transnational practices. The film not only delivers intimate accounts from the lives of several families affected by female migration from Moldova into Western Europe following the country’s independence from the Soviet Union in 1991 and its subsequent economic crisis, but also gives insight into the unique capability of home videos to mediate transnational family ties. Using a multimodal analysis framework to investigate how archival footage is used to construct a layered narrative of family separation, adaptation and evolving identity, this study highlights the employment of home videos as “microhistorical” devices that offer intimate insights into the social realities of migration, and explores their role as non-monetary reverse social remittances.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“But What are You, Mama?”: Gendered Migration, Epistemic Injustice, and Feminist Resistance in Domnica Rădulescu’s Dream in a Suitcase (2022)]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0006</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Domnica Rădulescu’s (1961-) memoir, Dream in a Suitcase, is about her journey from communist Romania to the United States. Without bothering much about ‘political correctness,’ Rădulescu offers her readers an intimate account of her life that is filled with gendered and epistemic dimensions of displacement. By critically engaging with the memoir, we intend to discuss how Rădulescu navigates and negotiates the oppressive patriarchal structures of her homeland, i.e. Romania, and the host land, i.e. the United States, that subjugate women through cultural exoticization, economic precarity, and academic exclusion. The essay is divided into several subsections. The first section uses Miranda Fricker’s concept of epistemic injustice to analyse how Rădulescu resists both testimonial and hermeneutical injustice. By taking a feminist approach, the second section situates migration with other interconnected issues such as gendered labour, precarious citizenship and the racialised migration dynamic to show how patriarchal oppression cuts across national boundaries. Lastly, the third section explores Foucault’s concept of heterotopia as an analytical framework to examine how the memoir itself can be seen as a subversive counter-space that counters hegemonic power structures, dismantles many stereotypes regarding Eastern European women, and recuperates migrant female agency in translational contexts.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[“Not One of Them”: Exile, Colonial Memory, and Identity in Banine’s Parisian Days]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0007</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines the memoir Parisian Days by Azerbaijani French writer Banine, situating it within discourses of exile, gender, and postcolonial identity. Writing from the geographic and cultural periphery of the former Russian Empire, Banine offers a unique lens on the Russian émigré experience in interwar Paris. Her reflections reveal the persistent imperial hierarchies that shape the diaspora and foreground the complex negotiations of identity undertaken by women from colonized regions. This study argues that Banine’s work introduces a counter-memory rooted in cultural hybridity, gendered displacement, and colonial critique. The author crafts a voice that resists both nostalgic imperialism and total assimilation and establishes exile as a site of critical agency and transformation.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Rewriting Herstory: Women from Micro-Histories to South African Fiction]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0008</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The study examines the writings of three South African novelists (Zakes Mda, Yvette Christiansë, and Zoë Wicomb) who have turned to history in order to construct the female protagonists of their novels. The female figures brought from history to literature are portraits painted based on historical records combined with fiction, emphasizing the fact that the roots of contemporary realities run deep in the past. Zakes Mda’s The Heart of Redness (2000), Yvette Christiansë’s Unconfessed (2006) and Zoë Wicomb’s Still Life (2020) focus on issues connected to female identity, slavery and oppression, voicing the silenced women who were fortunate enough to be recorded by the authorities of their time. The three novels, which can be described either as historical fiction and speculative biography, revive the stories of the prophetess Nongquawuse (The Heart of Redness), the slave women Sila van den Kaap (The Unconfessed) and Mary Prince (Still Life) using different techniques to rewrite history as her-story.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[‘Ardhanareeshwara’ – The Lord Who is Half Woman: Breaking the Gender Binary through Indian Philosophy and Contemporary Gender Studies]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0009</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Ardhanareeshwara, the composite form of Shiva and Parvati, embodies the inseparability of masculine and feminine principles, challenging fixed gender binaries. This paper examines the representation of Ardhanareeshwara in the Kerala Mural Painting tradition through the intersecting lenses of indigenous aesthetic frameworks and contemporary gender theory. The study traces the mythological and philosophical foundations of this form by drawing on textual sources alongside classical treatises on art and aesthetics. A close reading of the Kerala mural depiction of Ardhanareeshwara examines posture, attributes, colour, ornamentation, and stylistic conventions. The analysis uses semiotic theory, indigenous aesthetic frameworks (abhinaya, dhvani, rasa), and theories of performativity to show how Ardhanareeshwara enacts gender as relational, fluid, and embodied. From a decolonial and intersectional perspective, the paper shows how colonial frameworks systematically marginalized indigenous conceptions of gender. Kerala mural representation of Ardhanareeshwara, thus, offers an indigenous model for understanding gender, embodiment, and cosmology, providing insights that enrich global discussions on identity, emotion, and visual culture.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Review;Lives of Circumcised and Veiled Women; A Global-Indian Interplay of Discourses and Narratives, Debangana Chatterjee, 2024. Routledge]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0013</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Visual Dialogues on Gender: Women’s Perspectives from the UAE, Saudi Arabia, and Qatar]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0012</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Art is inspiring reflection on the relationships among tradition, modernity, and gender identity in the vibrant Middle East. Three artists, Ebtisam Abdulaziz, Sarah Abu Abdallah, and Bouthayna Al Muftah, use their art to challenge gender norms and traditions in their respective communities. Their artistic methods are examined, as is their approach to gender norms and possibilities in their home countries. They transcend traditional gender discourses and customs through their art. Their artworks transcend social restrictions and influence their communities. We will explore women’s art through qualitative methods, focusing on three pieces of artwork to gain insight into contemporary Gulf art. We will demonstrate how modern Middle Eastern art methods are being used to address social, cultural, and gender issues, making it essential for national and international audiences.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Documenting Silences - An Ethnographic Inquiry into Gender-Based Violence among Migrant Agricultural Labours in Maharashtra]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0011</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The paper is an ethnographic account of women migrant sugarcane cutters and their negotiations for survival in a labour market shaped by neoliberal forms of agriculture and embedded patriarchal structures, as well as of their agency over their bodies. The investigation explores the invisibility of structural violence perpetuated by systems rooted in social inequalities, injustices, and coercion. This violence is legitimized and rendered “natural” through conceptualizations of structural violence (Galtung, 1969; Farmer, 2004). Such an investigation deconstructs the dominant narrative of the neoliberal regime, which is ostensibly equated with a free and competition-driven market. This market, however, thrives not by reducing economic and social inequalities but by managing and furthering them. Drawing on Gramsci’s ideas of hegemony (1971) and Althusser’s concept of ideological state apparatuses (1971), the paper illustrates how dominant discourses and institutions normalize and render this structural violence invisible. The victims of such structural violence are left with very little or no agency over their bodies and minds, as revealed in their silences and denials.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[When Queer is Normalised: Recognising Representations of Homonormativity in Indian Audiovisual Brand Campaigns]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2025-0010</link>
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            <pubDate>Mon, 08 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Since the 2010s, LGBTQ+ representation in Indian audiovisual advertising has grown significantly. However, it is crucial to evaluate whether these campaigns exhibit the homonormative patterns previously identified by scholars in Western media. This paper examines how advertisers use homonormative strategies to make LGBTQ+ people acceptable to mainstream audiences while promoting their products. The analysis reveals that these campaigns downplay queer differences and emphasise heteronormative experiences to make LGBTQ+ identities seem ‘normal’. Advertisers employ several common strategies: portraying the familiar plight of wives within relationships, highlighting the transformative power of monogamous love and marriage, incorporating queer individuals into patriarchal rituals, and showcasing patriotism and individual accomplishments as markers of respectable citizenship. By centring these themes, such portrayals inevitably exclude the nonhomonormative identities and diverse experiences of gender and sexual minorities. Therefore, for advertising to achieve genuine inclusion, it must move beyond this normative framework and embrace more authentic and diverse representations of LGBTQ+ lives.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Challenging Male Entitlement and Patriarchy: Promising Young Woman, Barbie, and Contemporary Feminist Theory]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0003</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper examines comparatively the potential feminist work done by two recent films, Promising Young Woman (2020) and Barbie (2023). By employing the concepts of (male) entitlement and patriarchy, we argue that pushing the concept of patriarchy to the center of a discourse propagated by means of commercial success can have the effect of strengthening rather than undermining it. At the same time, this apparent acceptance of patriarchy as a debate topic is accompanied by continued reluctance to address entitlement.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[African Women Writers Across Generations: Navigating Local Contexts and Evolving Feminist Approaches]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0007</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Scholars in African feminism have historically repudiated the concept of feminism, which has been perceived as a Western imposition. Through a literary analysis of Ekomo (Nsué Angüe, 1985), Efuru (Nwapa, 1966) and Une si longue lettre (Bâ, 1979), the current article examines how first-generation African women writers approach the conditions that oppress women. Furthermore, the article discusses how the approach to women’s challenges in first-generation novels differs from the forms of feminism that are being articulated more recently by African feminist activists. The findings show that Nsué Angüe, Nwapa, and Bâ’s novels project the experiences and concerns of their female characters through the various ways of liberating women in the local context such as nego-feminism and snail-sense feminism. These African variants of feminism cater to their local peculiarities in ways that reflect the differences between African and Western cultures. However, these earlier approaches to women’s challenges do not align with the forms of feminism articulated today.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Female Language in Research Articles Written by Transgender Scientists]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0011</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Physiological examinations of trans individuals reveal that their bodies over time align to correspond with their gender identity and shift away from the parameters associated with gender assigned at birth. Considering this, the present study looks at language production of transgender scientists to determine if their language changes along with their physiology. The investigation centers on one aspect of scientific trans discourse—that is the frequency of female language. It was expected that those scientists who transitioned from male to female would use female language more frequently after the transition, and those who transitioned from female to male would exhibit fewer instances of female language. However, the opposite appears to be true. According to the evidence collected from 10 professional scientific articles, the frequency of female language goes up for those scientists transitioning from female to male and goes down for those who transition from male to female.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Book Review: Camilla Sutherland. The Space of Latin American Women Modernists. Cardiff: University of Wales Press, Series: Iberian and Latin American Studies, 2024, 205 Pages. ISBN 9781837721085 (Hardcover)]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0012</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Perfect Feminist Movie Does Not Exist: Screening the Barbie Buzz]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0002</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Given the remarkable financial success of Greta Gerwig’s film, its perceived merits and shortcomings need to be examined in order to determine what caused the significant social media attention, which included both substantial praise and sharp criticism. Starting from an overview of the Barbie-doll’s evolution over the years and relying on the mixed reception enjoyed by the film Barbie (2023), this article provides an analysis of how its director incorporates the feminist ideology, evaluates its effectiveness in harnessing the empowering aspects of the feminist discourse, and attempts to pinpoint the specific type of feminism it embraces. The aim is to scrutinise the claim that this production is nothing more than the epitome of insidious faux feminism, shamelessly brandished by the media industry to disguise its commercial objectives whilst posing as harbingers of progressive social change.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“I’m Not Pretty Anymore:” Femininity and Beauty in the Barbie Movie]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0006</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The Barbie movie swept across the world and became the highest grossing movie of 2023, but it is also considered a controversial film, as the public and academic discourses around it show. Can Barbie be feminist? Is Barbie feminist enough? The expectations levied against the movie come from outside of it, reflecting on Barbie’s history from 1959 until today. Barbie embodies patriarchal views of women but she also showcases the way women entered the workforce, became less reliant on men, and more independent within society. While many critics blame Barbie for unrealistic body standards and capitalist overconsumption, I argue that the doll’s evolution also reflects the way women’s roles changed over the last sixty years. The aim of this paper is to analyze the way Barbie grapples with questions of beauty and femininity in 2023, with a sixty-year-old past of constantly changing definitions of what it means to be a woman.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[‘Breaking’ the Silence and ‘Fighting’ Back: Changing Representations of Female Response to Gender-Based Violence in Select Malayalam Films]]></title>
            <link>https://reference-global.com/article/10.2478/genst-2024-0008</link>
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            <pubDate>Fri, 20 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[Representation, particularly mediated forms such as cinema, has always been a powerful tool to enable social change. On the one hand, cinema functions as an instrument that reinstates hegemonic patriarchy, but on the other, it also becomes “a tool for political resistance and subversion” (Lauret, 1991, p. 66). Recently, South Asian cinema and, more specifically, the corpora of Malayalam cinema1 has emerged as an empowering platform that addresses structural and institutionalised inequalities of gender. Broadly, the paper discusses the shift in the representational praxis of gender-based violence in Malayalam cinema, more specifically, the female protagonists’ responses to violence. Specifically, the paper focuses on two recent Malayalam films, Jaya Jaya Jaya Jaya Hey (2022) and The Teacher (2022). The films present vigilantism as a means of female empowerment, offering an alternative narrative to traditional portrayals of victimhood, and how it can resist feelings of powerlessness in the face of gender-based violence. Therefore, anchoring on Laura Mattoon D’Amore’s theoretical framework of vigilante feminism (2017), the study examines the intersection of vigilantism, gender-based violence, and cinematic representation, in an attempt to locate both the covert and overt forms and responses surrounding violence against women.]]></description>
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