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Women Talking: An Alchemy for Feminist Alternative Dispute Resolution
No full textOver the past decade, a growing number of women who have experienced sexual violence have turned to alternative dispute resolution (ADR) and have filed sexual harassment claims in human rights tribunals instead of pursuing sexual assault charges. Using ADR processes, such as mediation, was once considered inappropriate for remedying domestic or sexual violence because of the assumed power imbalance between the parties and the risk to the survivor/victim’s personal security. These presumptions are now changing, and, in certain circumstances, survivors/victims of domestic and sexual violence are voicing their preference for ADR solutions over criminal or civil court procedures. However, this shift has also exposed challenges in the ADR system when dealing with issues pertaining to women’s rights and violence against women, such as the perpetuation of gender-based stereotypes. Addressing these challenges calls for a feminist restructuring of ADR. Relying upon Miriam Toews’s 2019 novel Women Talking and Sarah Polley’s 2022 film adaptation of this novel as a central framework, this article proposes principles for a feminist-oriented ADR practice. The authors explain how Women Talking embodies a feminist ADR practice and what the common law and traditional ADR models can learn from the dispute resolution techniques in Women Talking. A feminist ADR practice prioritizes the voices of women, meaningfully considers the interests of the women who are parties to the dispute, enacts substantive procedural justice, and positions women as active agents in structuring the dispute resolution and decision-making process. The article concludes by suggesting seven preliminary propositions for a feminist approach to ADR in practice
Beverly Chalmers and Dana Solomon. Holocaust Heroines: Jewish Women Saving Jewish Children. Grosvenor House Publishing Limited, 2024.
No full textOn Fifty Years in the Rabbinate – Torat Yovel
No full text“On Fifty Years in the Rabbinate” is a talk that was delivered at the 2024 graduation program of the Reconstructionist Rabbinical Association
Sensory Violence within Spanish Baroque Drama: Women Murdered on Stage
No full textThis article takes a multi-sensory approach to the baroque drama de honra in order to enlighten the sensory expectations (thirst for blood and body horror) of the public who came to witness how several women accused of adultery were killed on stage. In this case, the effects of the tragedy are constructed from uxoricides sometimes performed in explicit sacrificial rituals. Thus, every studied play contributes to the creation of a school of exemplarity in the emotional community of theatregoers through the morbid excitement of the senses aroused by violence. From Doña Mencía’s ritualistic death in El médico de su honra (1635) to the Machiavellian manslaughter orchestrated by the Duke of Ferrara in El castigo sin venganza (1631), smell, touch, sight, and hearing all play a role in the configuration of the oppressive atmospheres that are characteristic of honour plays. Acting stimulates the senses of the audience, who thereby perceives the endangered corporeality of the murdered women. Their deaths, represented in an exceptional way, are key to the reception of the four comedias analyzed here.Cet article propose une approche multisensorielle au drama de honra baroque afin d’éclairer les attentes sensorielles (soif de sang et horreur corporelle) du public venu assister à la mise à mort, sur scène, de plusieurs femmes accusées d’adultère. Dans ce cas, les effets de la tragédie sont construits à partir d’uxoricides parfois réalisés dans des rituels sacrificiels explicites. Ainsi, chaque pièce étudiée contribue à la création d’une école d’exemplarité à l’intérieur de la communauté émotionnelle des spectateurs, principalement à travers l’excitation morbide des sens éveillés par la violence. De la mort rituelle de Doña Mencía dansEl médico de su honra (1635) au massacre machiavélique orchestré par le duc de Ferrare dans El castigo sin venganza (1631), l’odorat, le toucher, la vue et l’ouïe jouent tous un rôle dans la configuration des atmosphères oppressives qui caractérisent les drames d’honneur. Le jeu des acteurs stimule les sens du public, qui perçoit ainsi la corporalité menacée des femmes assassinées. Leur mort, représentée de manière exceptionnelle, est la clé de la réception des quatre comédies analysées ici
