Catriona Macleod – författare

A Genealogy of Puberty Science explores the modern invention of puberty as a scientific object. Drawing on Foucault’s genealogical analytic, Pinto and Macleod trace the birth of puberty science in the early 1800s and follow its expansion and shifting discursive frameworks over the course of two centuries.Offering a critical inquiry into the epistemological and political roots of our present pubertal complex, this book breaks the almost complete silence concerning puberty in critical theories and research about childhood and adolescence. Most strikingly, the book highlights the failure ​of ongoing medical debates on early puberty to address young people’s sexual and reproductive embodiment and citizenships.A Genealogy of Puberty Science will be of great interest to academics, researchers and postgraduate students in the fields of child and adolescent ​health research, critical psychology, developmental psychology, health psychology, ​feminist and gender studies, ​medical history, science and technology studies, and sexualities and reproduction studies.

In Fugitive Objects, Catriona MacLeod examines the question of why sculpture is both intensively discussed and yet rendered immaterial in German literature. She focuses on three forms of disappearance: sculpture’s vanishing as a legitimate art form at the beginning of the nineteenth century in German aesthetics, statues’ migration from the domain of high art into mass reproduction and popular culture, and sculpture’s dislodging and relocation into literary discourse. Through original readings of Clemens Brentano, Achim von Arnim, Adalbert Stifter, Leopold von Sacher-Masoch, and others, MacLeod reveals that if sculpture has disappeared from much of nineteenth-century German literature and aesthetics, it is a vanishing act that paradoxically relocates the statue back onto another cultural pedestal, attesting to the powerful force of the medium.

The term ""Untranslatables"" is rooted in two explorations of translation written originally in German: Walter Benjamin's now ubiquitous ""The Task of the Translator"" and Goethe's extensive notes to his ""tradaptation"" of mystical Persian poetry. The essays collected in Un/Translatables unite two inescapable interventions in contemporary translation discourses: the concept of ""Untranslatables"" as points of productive resistance, and the Germanic tradition as the primary dialogue partner for translation studies. The essays collected in the volume pursue the critical itineraries that would result if ""Untranslatables,"" as discussed in Barbara Cassin's Dictionary of Untranslatables, were returned, productively estranged, to their original German context. Thus, these essays explore Untranslatables across Germanic literatures—German, Yiddish, Dutch, and Afrikaans—and follow trajectories into Hebrew, Arabic, Mandarin, Japanese, English, and Scots.

Advocating a gender-inclusive approach to the history of work, this book both counts and accounts for women's as well as men's economic activity. Showcasing novel conceptual, methodological and empirical perspectives, it highlights the transformative potential of including women's work in wider assessments of continuity and change in economic performance. Focusing on the period of European history (1500-1800) that generated unprecedented growth in the northwest - which, in turn, was linked to the global redistribution of resources and upon which industrialisation depended - the book spans key arenas in which women produced change: households, care, agriculture, rural manufacture, urban markets, migration, and war. The analysis refutes the stubborn contention of mainstream economic history that we can generalise about economic performance by focusing solely on the work of adult men and demonstrates that women were active agents in the early modern economy rather than passively affected by changes wrought upon them.

Advocating a gender-inclusive approach to the history of work, this book both counts and accounts for women's as well as men's economic activity. Showcasing novel conceptual, methodological and empirical perspectives, it highlights the transformative potential of including women's work in wider assessments of continuity and change in economic performance. Focusing on the period of European history (1500-1800) that generated unprecedented growth in the northwest - which, in turn, was linked to the global redistribution of resources and upon which industrialisation depended - the book spans key arenas in which women produced change: households, care, agriculture, rural manufacture, urban markets, migration, and war. The analysis refutes the stubborn contention of mainstream economic history that we can generalise about economic performance by focusing solely on the work of adult men and demonstrates that women were active agents in the early modern economy rather than passively affected by changes wrought upon them.

A Genealogy of Puberty Science explores the modern invention of puberty as a scientific object. Drawing on Foucault’s genealogical analytic, Pinto and Macleod trace the birth of puberty science in the early 1800s and follow its expansion and shifting discursive frameworks over the course of two centuries.Offering a critical inquiry into the epistemological and political roots of our present pubertal complex, this book breaks the almost complete silence concerning puberty in critical theories and research about childhood and adolescence. Most strikingly, the book highlights the failure ​of ongoing medical debates on early puberty to address young people’s sexual and reproductive embodiment and citizenships.A Genealogy of Puberty Science will be of great interest to academics, researchers and postgraduate students in the fields of child and adolescent ​health research, critical psychology, developmental psychology, health psychology, ​feminist and gender studies, ​medical history, science and technology studies, and sexualities and reproduction studies.

Overseas department of France in Amazonia and ‘ultraperipheral region’ of the EU, Guyane (French Guiana) is at the juncture of Europe, the Caribbean and South America. This collection of essays explores historical and conceptual locations of Guyane, as a relational space characterised by dynamics of interaction and conflict between the local, the national and the global. Does Guyane have, or has it had, its own place in the world, or is it a borderland which can only make sense in relation to elsewhere: to France and its colonial history, for example, or to African and other diasporas, or as a ‘margin’ of Europe?This edited collection is the first volume to study Guyane from multiple perspectives. It subjects the enduring clichés and negative stereotypes regarding Guyane to critical examination, exploring how discourse on this DOM is, and has been, formed and how it may evolve. Chapters discuss geographical, literary and cultural ‘locations’ of Guyane, past and present, challenging its relegation to the ‘periphery’, whilst also historicizing the production of its marginal status. Finally, the collection aims to outline possible future challenges to the conceptual location of Guyane and possible directions for continued research.

This book looks at the representation of female characters in French comics from their first appearance in 1905. Organised into three sections, the book looks at the representation of women as main characters created by men, as secondary characters created by men, and as characters created by women.It focuses on female characters, both primary and secondary, in the francophone comic or bande dessinée, as well as the work of female bande dessinée creators more generally. Until now these characters and creators have received relatively little scholarly attention; this new book is set to change this status quo.Using feminist scholarship, especially from well-known film and literary theorists, the book asks what it means to draw women from within a phallocentric, male-dominated paradigm, as well as how the particular medium of bande dessinée, its form as well as its history, has shaped dominant representations of women.This is the first book to study the representation of women in the French-language drawn strip. There are no other works with this specific focus, either on women in Franco-Belgian comics, or on the drawn representation of women by men.This is a very useful addition to both general discussions of French-language comics, and to discussions of women’s comics, which are focused on comics by women only.As it is written in English, and due to the popularity of comic art in Britain and the United States, this book will primarily appeal to an Anglo-American market. However, the cultural and gender studies approach this text employs (theoretical frameworks still not widely seen in non-Anglophone studies of the bande dessinée) will ensure that the text is also of interest to a Franco-Belgian audience.With a focus on an art-form which also inspires a lot of public (non-academic) enthusiasm, it will also appeal to fans of the bande dessinée (or wider comic art medium) who are interested in the representation of women in comic art, and to comics scholars on a broad scale.

This book looks at the representation of female characters in French comics from their first appearance in 1905. Organised into three sections, the book looks at the representation of women as main characters created by men, as secondary characters created by men, and as characters created by women.It focuses on female characters, both primary and secondary, in the francophone comic or bande dessinée, as well as the work of female bande dessinée creators more generally. Until now these characters and creators have received relatively little scholarly attention; this new book is set to change this status quo.Using feminist scholarship, especially from well-known film and literary theorists, the book asks what it means to draw women from within a phallocentric, male-dominated paradigm, as well as how the particular medium of bande dessinée, its form as well as its history, has shaped dominant representations of women.This is the first book to study the representation of women in the French-language drawn strip. There are no other works with this specific focus, either on women in Franco-Belgian comics, or on the drawn representation of women by men.This is a very useful addition to both general discussions of French-language comics, and to discussions of women’s comics, which are focused on comics by women only.As it is written in English, and due to the popularity of comic art in Britain and the United States, this book will primarily appeal to an Anglo-American market. However, the cultural and gender studies approach this text employs (theoretical frameworks still not widely seen in non-Anglophone studies of the bande dessinée) will ensure that the text is also of interest to a Franco-Belgian audience.With a focus on an art-form which also inspires a lot of public (non-academic) enthusiasm, it will also appeal to fans of the bande dessinée (or wider comic art medium) who are interested in the representation of women in comic art, and to comics scholars on a broad scale.