Rozsika Parker

In this fascinating study, Rozsika Parker traces a hidden history--the shifting notions of femininity and female social roles--by unraveling the history of embroidery from medieval times until today.

Embroidery and the Making of the Feminine

The Subversive Stitch

Can the coexistence of love and hate actually stimulate and sharpen a mother's awareness of what is going on between her and her child? Reversing the conventional psychoanalytic approach, in which maternal ambivalence has been chiefly understood from the point of view of the child, this book gives precedence to the mother's perspective. Rozsika Parker draws on interviews with mothers, clinical material from her practice as a psychoanalytic psychotherapist, and a range of literary and popular sources, to create a powerful exploration of maternal ambivalence in a culture painfully and profoundly uneasy at its very existence. Original and accessible, with new readings of the work of Klein, Winnicoot, Bowlby and others, Torn in Two will enrich and change our thinking about mothering.

The Experience of Maternal Ambivalence

Torn in Two

Pollock, Griselda.

Women, Art and Ideology

Old Mistresses

"Many a loving mother has had fleeting feelings of hatred toward her children - the desire to hurl a howling baby out the window or to lock a teenager out of the house. In this provocative book, Rozsika Parker argues that these ambivalent feelings not only are common but can actually have a creative impact on mothering." "Mother Love/Mother Hate boldly illustrates how a mother's desire for devotion coexists with the impulse to hurt and desert. Parents will find Parker's insight into the conflicts that beset them illuminating and deeply reassuring. Reversing the conventional psychoanalytic approach, in which maternal ambivalence has been understood chiefly from the point of view of the child, this book gives precedence to the mother's perspective. Drawing on interviews with mothers, clinical material from her practice as a psychoanalytic psychotherapist, and a wide range of psychoanalytic and literary sources (including Virginia Woolf, Anne Tyler, Simone de Beauvoir, D. W. Winnicott, Melanie Klein, and John Bowlby), Parker explores experiences of maternal ambivalence in a culture painfully and profoundly uneasy about its very existence."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

The Power Of Maternal Ambivalence

Mother Love/mother Hate

Griselda Pollock 

¿Cómo es posible que, a finales del siglo xx, se hubiese borrado de la historia del arte a las mujeres como artistas en tan gran medida como para que la idea de «el artista» fuese exclusivamente masculina? ¿Por qué este borrado fue más radical en el siglo xx que nunca antes? ¿Por qué todo aquello que compromete la grandeza del arte se etiqueta como «femenino»? ¿La crítica feminista de la historiografía artística ha tenido ya algún efecto real, o aún no se ha producido cambio alguno?Este libro, realmente pionero, ofrece un desafío radical a una Historia del arte en la que no abundan las mujeres. La crítica que lasautoras hacen del sexismo en la disciplina conduce a nuevas lecturas ampliadas, inclusivas, del arte del pasado. A lo largo de sus páginas, ponen de manifiesto cómo las cambiantes realidades histórico-sociales de las relaciones de género, así como la transposición que de las condiciones de género hacen las mujeres artistas en sus obras proporcionan claves para comprender bajo una nueva luz por qué y cómo podemos estudiar el arte del pasado. Y van más allá, para mostrar cómo este conocimiento nos permite entender el arte de artistas contemporáneas que son mujeres, contribuyendo así a cambiar el trabajo creativo y la percepción que de sí mismos tienen hoy día los artistas.

Mujeres, arte e ideología

Maestras antiguas

Rozsika Parker's now classic re-evaluation of the reciprocal relationship between women and embroidery has brought stitchery out from the private world of female domesticity into the fine arts, created a major breakthrough in art history and criticism, and fostered the emergence of today's dynamic and expanding crafts movements. "The Subversive Stitch" is now available again with a new Introduction that brings the book up to date with exploration of the stitched art of Louise Bourgeois and Tracey Emin, as well as the work of new young female and male embroiderers. Rozsika Parker uses household accounts, women's magazines, letters, novels and the works of art themselves to trace through history how the separation of the craft of embroidery from the fine arts came to be a major force in the marginalisation of women's work. Beautifully illustrated, her book also discusses the contradictory nature of women's experience of embroidery: how it has inculcated female subservience while providing an immensely pleasurable source of creativity, forging links between women.

Geïllustreerd historisch overzicht van de geschiedenis van de naaldkunst

Griselda Pollock

Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History history yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.

Conflicting feelings of love and hate for a child can have a creative impact on mothering. This is Rozsika Parker's contention as she presents an understanding of maternal ambivalence. Drawing on interviews with mothers, clinical material and a range of literary sources, she explores differing experiences of maternal ambivalence. Parker's revision of psychoanalysis from the point of view of the mother also makes a contribution to feminist thinking on motherhood. This book is appropriate for general readers as well as the professional.

Rozsika Parker

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