Performing the self : women's lives in historical perspective
1. Introduction: Performing the Self: women's lives in historical perspective Katie Barclay and Sarah Richardson 2. Performing the Self, Performing the Other: gender and racial identity construction in the Nanteuil Cycle Victoria Turner 3. Writing the Self: the journal of Sarah Stoddart Hazlitt, 1774-1843 Gillian Beattie-Smith 4. Writing Women's Histories: women in the colonial record of nineteenth-century Hong Kong Jane Berney 5. Barbara Leigh Smith Bodichon's Travel Letters: performative identity-formation in epistolary narratives Meritxell Simon-Martin 6. 'A notable personality': Isabella Fyvie Mayo in the public and private spheres of Aberdeen Lindy Moore 7. 'The Subject is Obscene: No Lady Would Dream of Alluding to It': Marie Stopes and her courtroom dramas Lesley Hall 8. Body and Self: learning to be modern in 1920s-1930s Britain Charlotte Macdonald 9. Performing the Political Self: a study of identity making and self representation in the autobiographies of India's first generation of parliamentary women Annie Devenish 10. Eve Drewelowe: feminist identity in American art Lindsay E. Shannon 11. Women Activists: rewriting Greenham's history Elaine Titcombe 12. The Changing Face of Exhibiting Women's Wartime Work at the Imperial War Museum Alyson Mercer 13. Concluding Thoughts: performance, the self, and women's history Penny Summerfield
"Walking the Streets in a Way No Decent Woman Should": Women Police in World War I
Shortly after war broke out in the late summer of 1914, people in Britain were witness to what was, for the times, a curious sight. Women, generally in pairs, wearing lettered armlets and darkly colored clothes or official looking uniforms, began patrolling after dark in streets, parks, and railway stations and in towns close to the swelling military encampments where hasty combat training was under way. These were the new women police and patrols of the war years, many of whom harbored an ambition to create a permanent female officer corps that would become indispensable in peacetime. The need for a separate female force to deal with the specific problems faced by women and children in the community was a long-held ambition of both feminist and social purity campaigners. 1 Though it was the 1914-1 8 war that precipitated the appearance of women patrolling the streets, the appointment of paid female searchers and police matrons in the courts increased steadily in the late nineteenth century at a time when around 30 percent of women detained were kept in overnight custody.2 Until this juncture, and in some areas even after the first police matron schemes were initiated, the wife of the local police officer commonly discharged these "feminine" duties, generally without remuneration.3
FlowBrush: optical flow art
The depiction of motion in static representations has a long tradition in art and science alike. Often, motion is depicted by spatio-temporal summarizations that try to preserve as much information of the original dynamic content as possible. In our approach to depicting motion, we remove the spatial constraints and generate new content steered by the temporal changes in motion. Applying particle steering in combination with the dynamic color palette of the video content, we can create a wide range of different image styles. With recorded videos, or by live interaction with a webcam, one can influence the resulting image. We provide a set of intuitive parameters to affect the style of the result, the final image content depends on the video input. Based on a collection of results gathered from test users, we discuss example styles that can be achieved with FlowBrush. In general, our approach provides an open sandbox for creative people to generate aesthetic images from any video content they apply.