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C’est la firme de management de Simple Plan, Coalition Music, qui a confirmé la nouvelle. Chady Awad avait justement remplacé David Desrosiers lorsque ce dernier avait pris une pause de SP pour traiter sa dépression de 2017 à 2019. Awad était également photographe et vidéaste pour Simple Plan. Simple Plan a mis fin à sa... View Article
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Un groupe de 300 personnes s’est créé pour que les victimes témoignent et pour exprimer des revendications.
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Le milieu littéraire fait face lui aussi au mouvement de dénonciations lancé il y a une dizaine de jours. Un groupe de 300 autrices et actrices de la chaîne du livre s’est formé de manière privée pour échanger à propos de cas d’inconduites sexuelles dont beaucoup ont été victimes.
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L’UNEQ donne son appui à la lettre rédigée par un groupe constitué de plusieurs centaines de femmes et minorités de genre déterminées à faire cesser une situation qui ne peut plus durer dans le milieu littéraire.
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Description Cooperative Gaming provides context and practical advice regarding diversity in the games industry. The book begins with a deep dive into research literature and the history of diversity in the games industry to provide context around what diversity is and why it is a topic worth considering. The book looks at the different facets of diversity and games, exploring the issues and solutions within game development, studio management, event planning, and more. It provides people with practical advice about being a marginalized person in the games industry and how to be heard, how studios can support inclusive practices, and events can actively become more accessible to a diverse audience. Key Features • Explores the history of diversity in games • Provides important information around what it is like to be a marginalized person in the industry • Gives practical steps to improve the inclusivity of the industry that are designed to aid in contextualizing and upskilling new developers Author Bios Alayna Cole is the managing director of Queerly Represent Me, a not-for-profit championing queer representation in games. Alayna is also a producer at Sledgehammer Games, co-chair of the IGDA LGBTQ+ special interest group, and an award-winning games journalist and game developer. She was featured on the 2016 and 2017 Develop Pacific 30 Under 30 lists and the 2017 and 2019 Develop Pacific Women in Games lists, and she has received several other accolades in the industry. Jessica Zammit started writing in 2013 for Start Select Media, and for the next five years she followed her interest in writing about representations of mental health, diversity, and particularly, sexuality in video games. Jessica has been speaking about diversity in games at conventions such as PAX Australia since 2016 and has been featured on several other discussions in and around the topic of representation in games and games criticism. Along with her co-author, she is co-chair of the IGDA LGBTQ+ special interest group, and she was featured on the 2018 Develop Pacific 30 Under 30 and Women in Games lists.
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La valse des dénonciations pour inconduite sexuelle touchant le milieu culturel se poursuit.
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Les dénonciations font tomber Maripier Morin, Bernard Adamus et le patron de Dare To Care.
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L’auteure-compositrice-interprète Safia Nolin a provoqué une onde de choc en accusant mardi Maripier Morin de s’être livrée à du harcèlement sexuel, d’avoir commis une agression physique et d’avoir proféré des propos racistes lors d’une soirée dans un bar il y a deux ans. Des allégations en partie admises par l’animatrice télé, qui a présenté ses excuses le lendemain.
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As stories of racism and discrimination towards Black, Indigenous, and people of colour continue to dominate public discourse, more and more shocking allegations come to light about the lived experiences of systemic racism.
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Open letter from new group seeks action on racism and better career development
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Women in India cope with an ongoing sense of precarity owing to the frequency of street harassment and sexual violence; this impacts their freedom to travel and sense of autonomous agency. The December 2012 Nirbhaya case, the rape and fatal injury of a Delhi medical student, returned the subject of rape to public discourse leading to mass protests and, eventually, some stronger anti-rape laws; however, #metoo allegations surface weekly, and artists and activists are demanding that the trivialization of rape and verbal abuse stop and active steps be taken to dismantle the cultural scaffolding undergirding twomen's violation. In 2014 a collaboration by Zubaan Press (New Delhi) and the Goethe Institute (Germany) brought a group of Indian graphic artists together to create stories about women’s ground realities and the microaggressions they experience. The resulting publication, Drawing the Line: Indian Women Fight Back, contains fourteen vignettes which reveal the constraints women experience and also illuminate women’s capacity for resilience and boldness. This essay analyzes the forms of resistance imagined in these narratives, how particular stories illuminate slow violence, and what may be lost if we know little about the perpetrators who commit these acts against women.
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This essay draws upon the work of Judith Butler, Sara Ahmed, and Germaine Greer to consider the #MeToo movement and its reflection in the work of the author's students and the scandal at Dublin's G...
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L’improvisation théâtrale est une discipline artistique qui est grandement pratiquée, et ce, au Québec comme dans le monde. De manière implicite et explicite, l’une des réflexions qui revient souvent dans ce milieu est celle de la place différente qu’y occupent les femmes en comparaison avec celle de leurs collègues masculins. Les improvisatrices constatent qu’elles ont une place souvent minoritaire, rappelant les inégalités qui se présentent aussi en société pour les femmes. Ce constat n’est pas nouveau mais puisque très peu de recherches portent sur l’improvisation théâtrale, cette question n’a jamais vraiment été explorée. Ce mémoire pose donc les questions de recherche suivantes : Quelle est la place particulière des femmes dans ce milieu ? Quels inégalités et stéréotypes de genre ce milieu véhicule-t-il ? Et, comment les improvisatrices ont-elles le potentiel d’agir sur ces inégalités de genre et de défaire les stéréotypes ? Les objectifs de recherche sont : 1) Recueillir le point de vue des improvisatrices au sujet de leur pratique ; 2) Comprendre la situation particulière des femmes dans ce milieu ; 3) Identifier les stéréotypes et les inégalités de genre véhiculés en improvisation théâtrale ; 4) Relier ces stéréotypes et inégalités de genre à ceux véhiculés en société. Le cadre théorique de ce mémoire est celui du travail social féministe qui s’intéresse notamment aux oppressions et inégalités vécues par les femmes au quotidien, dans « l’ordinaire » de leur vie, ce dont la pratique de l’improvisation théâtrale fait partie. Ancrée dans une méthodologie féministe et qualitative, 8 entretiens semi-dirigés ont été réalisées. L’analyse et la discussion de ces résultats a mis de l’avant l’idée que l’improvisation théâtrale est un espace de reproduction de la socialisation genrée mais aussi un lieu de résistances et donc, plus globalement de négociation entre ces deux pôles. En conclusion, sont soulignés certains nœuds féministes de la recherche et des pistes de solutions pour y pallier. _____________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Féminisme, Improvisation théâtrale, Socialisation genrée, Stéréotypes de genre, Résistances, Recherche féministe, Travail social féministe.
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With the announcement of allegations of sexual harassment and sexual assault against beloved comedians, we ask, “Can one separate the art from the artist?” Comedians are supposed to bring audiences joy and laughter; however, this role is challenged when there is incongruity between the comic persona and the real-life misdeeds of comedians. We explore the rise of the #MeToo movement and the role of comedy in exposing as well as masking allegations against Bill Cosby, Louis C.K., Al Franken, and Aziz Ansari. Guided by disposition theory and disengagement models, findings reveal factors of race, gender, and personal relationships appear to influence comedians’ assessment of fellow comedians accused of sexual misconduct. Audience members also appear to experience moral disengagement.
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By linking the notion of politics with clown practices played out during the biennial festival «Esse Monte de Mulher Palhaça» in Rio de Janeiro (2018), dedicated specifically to female clowns, the relations between politics and feminism are raised, as well as the question of the place of clowns and women within the social system in which they act. In addition to reassessing the concept of politics through this new field of application, looking at what artistic practices convey or denounce as inequalities, allows us to identify politicized and political social elements. The private sphere, the power relations, the importance of gender, and the body and sexuality as treated in the festival’s performances raise political issues. We are lead to think of the phenomenon of Brazilian female clowns as a political space of claims, in particular feminist ones, and a resistance to dominant sexist normativity.
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Non-consensual sexual contact in bars is common, but few studies have focused on the extent of this problem at electronic dance music (EDM) parties, which are growing in popularity. We aimed to estimate prevalence and correlates of non-consensual sexual contact among individuals who attend EDM parties in New York City (NYC). Adults (ages 18–40 years) entering EDM parties in NYC were surveyed in 2018 using time–space sampling. Participants (n = 1005) were asked whether they had experienced unwanted or uninvited sexual contact including unwanted groping, kissing, or touching at an EDM party. We estimate that 15.2% of EDM party attendees in NYC have experienced non-consensual sexual contact at such parties. The majority (62.5%) of those reported that it occurred 1–2 times and 49.1% were usually or always drunk or high during the encounter(s). Almost all women experiencing non-consensual contact (99.5%) were all or mostly touched by men; 38.6% of men were all or mostly touched by other men. Women were at more than twice the odds of reporting non-consensual sexual contact than men (aOR = 2.38, p < .05) with 21.8% of women reporting experiencing non-consensual sexual contact compared to 11.0% of men. Among women, those ages 18–24 were at over twice the odds (aOR = 2.75, p < .05) of experiencing non-consensual sexual contact than those ages 25–40. EDM party environments can increase susceptibility to non-consensual sexual contact. Prevention needs to be geared toward those at risk, and education is needed for those likely to commit non-consensual sexual contact.