Feminist Figure Girl chronicles the transformation of art history professor Lianne McTavish, from a university professor into an extraordinarily tanned and crystal-encrusted bikini-wearing "figure girl."Figure competitions seek a softer appearance than traditional forms of bodybuilding but still require rigorous weightlifting, an extreme protein diet, and many hours of posing in high heels. While training for a figure show, McTavish combined autoethnographic methods, participant observation, and feminist theory to find new ways of thinking about physique culture and the female body. The author, who specializes in critical visual culture and the history of the body, explores such contemporary issues as body image, fat studies, identity politics, and "postfeminism," while rethinking fitness culture, diet regimes, feminist politics, reproductive activism, performance art, and the social function of photography. Written in a lively personal style reminiscent of McTavish's popular blog, she clearly explains the complex ideas stemming from the theoretical work of such writers as Judith Butler, Simone de Beauvoir, Michel Foucault, Iris Marion Young, Edmund Husserl, and Maurice Merleau-Ponty. The book also includes many photos documenting McTavish's physical transformation.
Defining the Modern Museum is a fascinating exploration of the museum as a cultural institution. Emphasizing museums' relationship to schools, libraries, and government agencies, this interdisciplinary study challenges long-standing assumptions about museums – revealing their messy, uncertain origins, and belying the standard narrative of their educational purpose having been corrupted by corporate goals. Using theoretical models and extensive archival research, Lianne McTavish examines the case of Canada's oldest continuing public museum, the New Brunswick Museum in Saint John. Focusing on the period between 1842 and the 1950s, McTavish addresses topics such as the transnational exchange of objects between museums, efforts by women to claim space within the organization, the creation of Carnegie libraries, and the rising status of curators. Shedding light on many topics of current interest, especially the commodification and globalization of museums, this study makes a lively contribution to museum studies and cultural studies.
Throughout the early modern period in France, surgeon men-midwives were predominantly associated with sexual impropriety and physical danger; yet over time they managed to change their image, and by the eighteenth century were summoned to attend even the uncomplicated deliveries of wealthy, urban clients. In this study, Lianne McTavish explores how surgeons strove to transform the perception of their midwifery practices, claiming to be experts who embodied obstetrical authority instead of intruders in a traditionally feminine domain. McTavish argues that early modern French obstetrical treatises were sites of display participating in both the production and contestation of authoritative knowledge of childbirth. Though primarily written by surgeon men-midwives, the texts were also produced by female midwives and male physicians. McTavish's careful examination of these and other sources reveals representations of male and female midwives as unstable and divergent, undermining characterizations of the practice of childbirth in early modern Europe as a gender war which men ultimately won. She discovers that male practitioners did not always disdain maternal values. In fact, the men regularly identified themselves with qualities traditionally respected in female midwives, including a bodily experience of childbirth. Her findings suggest that men's entry into the lying-in chamber was a complex negotiation involving their adaptation to the demands of women. One of the great strengths of this study is its investigation of the visual culture of childbirth. McTavish emphasizes how authority in the birthing room was made visible to others in facial expressions, gestures, and bodily display. For the first time here, the vivid images in the treatises are analysed, including author portraits and engravings of unborn figures. McTavish reveals how these images contributed to arguments about obstetrical authority instead of merely illustrating the written content of the books. At the same time, her arguments move far beyond the lying-in chamber, shedding light on the exchange of visual information in early modern France, a period when identity was largely determined by the precarious act of putting oneself on display.
The management of infertility using acupuncture is an expanding area of practice and one which is frequently rewarding for TCM acupuncture practitioners. Acupuncture for IVF and Assisted Reproduction has been specially prepared to meet the growing demand for information in this area and draws upon 20 years combined experience of the authors together with the latest evidence from both orthodox medicine and TCM. Richly illustrated and clearly written throughout, the book takes the reader through the anatomy and physiology of reproductive medicine (from both an orthodox and TCM perspective) and explains the underlying basis of orthodox medical fertility tests and investigations. The volume then explores the pathology and aetiology of TCM syndromes and shows how common fertility-related conditions, such as endometriosis and male factor infertility, affect Assisted Reproductive Technology (ART) success rates. It explains in great detail how to take a reproductive medical history and successfully diagnose TCM syndromes. Acupuncture for IVF and Assisted Reproduction also provides guidelines on how to regulate the menstrual cycle in preparation for IVF treatment and shows how lifestyle can affect fertility and ART success rates. Placing a strong emphasis on the practical aspects of patient care, Acupuncture for IVF and Assisted Reproduction contains an abundance of case history templates, algorithmic acupuncture treatment pathways and patient fact sheets and will be ideal for all acupuncture practitioners working in this field. "A must have for the bookshelf of any acupuncturist who is ever called upon to treat fertility issues - if you have room for one book this surely must be it." Reviewed by The Acupuncture Fertility Centre March 2015 "Practitioners of all levels of experience and TCM students should find it compelling reading and an invaluable companion to their learning." Reviewed by Stephen Clarke, Journal of the Australian Traditional Medicine Society May 2015 "This book is extremely well re-searched and referenced." Reviewed by Danny Maxwell on behalf of Journal of Chinese Medicine, February 2015 Simplifies complex information into easily accessible and understandable material Explains reproductive anatomy and physiology from the perspectives of both orthodox medicine and TCM Explains the underlying basis of orthodox medical fertility tests and investigations Explores the pathology and aetiology of TCM syndromes Provides detailed information on how to take a fertility medical history and how to diagnose TCM syndromes Presents the evidence for the influence of various lifestyle factors on fertility and ART success rates Provides guidelines on how to regulate the menstrual cycle in preparation for IVF treatment Explains how common fertility-related conditions such as endometriosis, Polycystic Ovary Syndrome, thyroid disease, and male factor infertility affect ART success rates Explains how to adapt acupuncture treatment to different ART protocols Provides case history templates, algorithmic acupuncture treatment pathways and patient fact sheets Explains how to manage patients with complex medical histories Looks at Repeated Implantation Failure, reproductive immunology dysfunction, and recurrent miscarriages Explains how to support patients if their IVF is unsuccessful and how to treat patients during early pregnancy Examines ethical considerations relevant to fertility acupuncture practice
Throughout the early modern period in France, surgeon men-midwives were predominantly associated with sexual impropriety and physical danger; yet over time they managed to change their image, and by the eighteenth century were summoned to attend even the uncomplicated deliveries of wealthy, urban clients. In this study, Lianne McTavish explores how surgeons strove to transform the perception of their midwifery practices, claiming to be experts who embodied obstetrical authority instead of intruders in a traditionally feminine domain. McTavish argues that early modern French obstetrical treatises were sites of display participating in both the production and contestation of authoritative knowledge of childbirth. Though primarily written by surgeon men-midwives, the texts were also produced by female midwives and male physicians. McTavish's careful examination of these and other sources reveals representations of male and female midwives as unstable and divergent, undermining characterizations of the practice of childbirth in early modern Europe as a gender war which men ultimately won. She discovers that male practitioners did not always disdain maternal values. In fact, the men regularly identified themselves with qualities traditionally respected in female midwives, including a bodily experience of childbirth. Her findings suggest that men's entry into the lying-in chamber was a complex negotiation involving their adaptation to the demands of women. One of the great strengths of this study is its investigation of the visual culture of childbirth. McTavish emphasizes how authority in the birthing room was made visible to others in facial expressions, gestures, and bodily display. For the first time here, the vivid images in the treatises are analysed, including author portraits and engravings of unborn figures. McTavish reveals how these images contributed to arguments about obstetrical authority instead of merely illustrating the written content of the books. At the same time, her arguments move far beyond the lying-in chamber, shedding light on the exchange of visual information in early modern France, a period when identity was largely determined by the precarious act of putting oneself on display.
Analyzes the authors transformation from academic to figure competitor. Feminist Figure Girl chronicles the transformation of art history professor Lianne McTavish, from a university professor into an extraordinarily tanned and crystal-encrusted bikini-wearing figure girl. Figure competitions seek a softer appearance than traditional forms of bodybuilding but still require rigorous weightlifting, an extreme protein diet, and many hours of posing in high heels. While training for a figure show, McTavish combined autoethnographic methods, participant observation, and feminist theory to find new ways of thinking about physique culture and the female body. The author, who specializes in critical visual culture and the history of the body, explores such contemporary issues as body image, fat studies, identity politics, and postfeminism, while rethinking fitness culture, diet regimes, feminist politics, reproductive activism, performance art, and the social function of photography. Written in a lively personal style reminiscent of McTavishs popular blog, she clearly explains the complex ideas stemming from the theoretical work of such writers as Judith Butler, Simone de Beauvoir, Michel Foucault, Iris Marion Young, Edmund Husserl, and Maurice Merleau-Ponty. The book also includes many photos documenting McTavishs physical transformation. Dieting and exercising with the goal of posing onstage in a bikini and heels is not what many think of when they think of feminism, but then those people have never read Feminist Figure Girl. Lianne McTavish brings figure competitions and feminismtwo seemingly opposed thingstogether in this intellectually challenging, deeply personal book. This is a must read for anyone with a passion for feminism and fitness. Caitlin Constantine, editor of the Fit and Feminist blog
Defining the Modern Museum is a fascinating exploration of the museum as a cultural institution. Emphasizing museums' relationship to schools, libraries, and government agencies, this interdisciplinary study challenges long-standing assumptions about museums – revealing their messy, uncertain origins, and belying the standard narrative of their educational purpose having been corrupted by corporate goals. Using theoretical models and extensive archival research, Lianne McTavish examines the case of Canada's oldest continuing public museum, the New Brunswick Museum in Saint John. Focusing on the period between 1842 and the 1950s, McTavish addresses topics such as the transnational exchange of objects between museums, efforts by women to claim space within the organization, the creation of Carnegie libraries, and the rising status of curators. Shedding light on many topics of current interest, especially the commodification and globalization of museums, this study makes a lively contribution to museum studies and cultural studies.
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