#bethan macmillan

[saythepword]

Bibliography

Books

Brumberg Joan Jacobs (1997), The Body Project. An Intimate History of American Girls, New York, Vintage Books.

Douglas Mary, 2001 [1966], De la souillure. Essai sur les notions de pollution et de tabou, Paris, La Découverte.

Emmanuelle Camille (2017), Sang Tabou: essai intime, social et culturel sur les règles, éd la Musardine

Knight, Chris (1991), Blood Relations: Menstruation and the Origins of Culture, New Haven, Yale.

Laws, S. (1990). Issues of Blood: The Politics of Menstruation. London: Macmillan

Miramon, Charles de (1999), « La fin d’un tabou ? L’interdiction de communier pour la femme menstruée au Moyen Âge. Le cas du xiie siècle », 163-181, in Michel Faure (dir.), Le sang au moyen âge : Actes du 4e colloque international de Montpellier, Université Paul Valéry (27-29 novembre 1999), Les cahiers du C.R.I.S.M.A., 4, Montpellier.

Owen Lara (1993), Her Blood is Gold, San Francisco/Thorsons, Harper/Aquarian.

Pedersen, L (2002). "Ambiguous Bleeding: Purity And Sacrifice In Bali". Ethnology.

Roux Jean-Paul, (1988), Le sang. Mythes, symboles et réalités, Paris, Fayard

Salomonsen Jone (2002), Enchanted Feminism. Ritual, gender and Divinity among the Reclaiming Witches of San Francisco, London/New York, Routledge.

Williams, L. R. (1983). "Beliefs and Attitudes of Young Girls Regarding Menstruation". In Menarche, ed. Sharon Golub. Lexington, MA: Lexington.

Articles, essays, thesis

Bhartiya, Aru (2013). "Menstruation, Religion and Society". International Journal of Social Science and Humanity.

Bildhauer, Bettina (2005), “The Secrets of Women (c. 1300): A Medieval Perspective on Menstruation”, 65-75, in Andrew Shail & Gillian Howie (dir.), Menstruation: A Cultural History, Basingstoke, Palgrave.

Bonnemère Pascale (1990), « Considérations relatives aux représentations des substances corporelles en Nouvelle-Guinée », L’Homme, XXX, 2 : 101-120.

Brown Judith, (1963), « A Cross-Cultural Study of Female Initiation Rites », American Anthropologist, new series 65 (4) : 837-853.

Buckley, Thomas & Gottlieb, Anna (1988), Blood Magic: The Anthropology of Menstruation, Berkeley, California University Press.

Buckley, Thomas (1982). "Menstruation and the power of Yurok women: Methods in cultural reconstruction". American Ethnologist.

Chyr, Willy (2016), "How I Made The First Feminine Hygiene Ad To Ever Feature Blood". Jezebel.

Cicurel Inbal, Sharaby, Rachel (2007), “Women in the Menstruation Huts: Variations in Preserving Purification Customs among Ethiopians Immigrants”, Journal of Feminist Studies in Religion, 23, 2, 69-84.

Dawson, Liesel, (2004), “Menstruation, Misogyny and the Cure for Love”, Women’s Studies, 34, 461-484.

Dornan, Jennifer (2004), "Blood from the moon: Gender ideology and the rise of ancient Maya social complexity", Gender and History

Fedele Anna (2008), Mary Magdalene. Menstrual Blood and Mother Earth, Thèse de doctorat, Ecole des Hautes Etudes en Sciences Sociales / Université Autonome de Barcelone.

Fortino Sabine (1997), « De filles en mères. La seconde vague du féminisme et la maternité », clio, Histoire, Femmes et sociétés, 5.

GRAHN Judy (1993), Blood, Bread, and Roses: How Menstruation Created the World. Beacon Press

Hindson, Bethan (2009), “Attitudes towards Menstruation and Menstrual Blood in Elizabethan England”, Journal of Social History, 43, 1, 89-114.

Hoskins, J (2002). "The Menstrual Hut And The Witch's Lair In Two Eastern Indonesian Societies". Ethnology.

Houseman Michael (2010), Des rituels contemporains de première menstruation. Ethnologie française, Presses Universitaires de France, 40 (1), pp.57-66.

Houseman, Michael, 2007, « Menstrual Slaps and First Blood Celebrations : Inference, Simulation and the Learning of Ritual », in David Berliner et Ramon Sarro (dir.) Learning Religion. Anthropological Approaches, New York, Berghahn Books, pp. 31- 48.

Johnston-Robledo, I.; Chrisler, J. C. (2011). "The menstrual mark: Menstruation as social stigma" (Sex Roles). 

Johnston-Robledo, Ingrid; Stubbs, Margaret L. (2012). "Positioning Periods: Menstruation in Social Context: An Introduction to a Special Issue". Sex Roles.

LE NAOUR Jean-Yves  et Catherine VALENTI, « Du sang et des femmes. Histoire médicale de la menstruation à la Belle Époque », Clio. Histoire‚ femmes et sociétés, 14 | 2001, 14 | 2001, 207-229.

Mardon Aurélia,

2006, La Socialisation corporelle des préadolescentes, thèse de sociologie, université de Paris Ouest-Nanterre-La Défense.

2009, « Les premières règles des jeunes filles : puberté et entrée dans l’adolescence », Sociétés contemporaines, 75 : 109-129.

2011 « Honte et dégoût dans la fabrication du féminin. L'apparition des menstrues », Ethnologie française, vol. vol. 41, no. 1, pp. 33-40.

Nizard Sophie, « Evyatar Marienberg, Niddah. Lorsque les juifs conceptualisent la menstruation », Archives de sciences sociales des religions, 140 | 2007, 157-310.

Rocío Subías Martínez (2017), “ Stéréotypes : la menstruation, mesdames, vous rendait folles mais irresponsables pénalement ! ” . Colloque “ Critique féministe des savoirs : Corps et santé ”, TOULOUSE, France. 

Stampler, Laura (2011). "Bye, Bye Blue Liquid: Always Runs First Feminine Hygiene Ad To Show Blood". Huffington Post.

Vosselmann Fritz (1935), La menstruation : légendes, coutumes et superstitions, Lyon, Thèse de médecine.

Official reports 

Field Bulletin on Chaupadi in the Far-West, Issue No.: 01; April 2011 from the United Nations Resident and Humanitarian Coordinator’s Office

Menstrual health in India, FSG report, May 2016 

Research & Forecasts, Inc. (1981). "The Tampax Report: Summary of Survey Results on a Study of Attitudes towards Menstruation". New York: Research and Forecasts

Study Report on Chaupadi in Dadeldhura, December 2010

UNICEF and Ureport poll on  Menstrual hygiene management

Case law : 

Alisha Coleman v. Bobby Dodd Institute

https://www.acluga.org/sites/default/files/appeal_brief.pdf

Random :

"A Third of Girls in South Asia Miss School During Periods: Report". The Japan Times. 22 May 2018.

“No blood should hold us back': New ad aims to power past period stigma". ABC News. 2016-06-06.

Vidéo : interdictions, exils, maladies… ce que subissent les femmes qui ont leurs règles à travers le monde 

[austrianillustration]

The Macmillan Prize was established by Macmillan Children’s Books to stimulate new work from young illustrators in art schools, and to help them take the first steps in their professional lives. This coveted award, which is currently in its 32nd year, has discovered such talent as Emily Gravett, Gemma Merino and Bethan Woolvin, amongst many others.

Entries to the Macmillan Prize 2017 are now open.

THE MACMILLAN PRIZE FOR CHILDREN’S PICTURE BOOK ILLUSTRATION

THE BRIEF

All entrants must submit:

Pencil roughs or sketches for a children's picture book – cover to cover – including text or a clear indication of the story line.

Finished artwork for at least four double-page spreads, or at least three spreads and a front cover.

Entrants should bear in mind what is appropriate for the child reader.

THE FORMAT

Length: Picture books should be 32 pages long, including the front and back endpapers, a title page and a copyright page. Books with novelty elements (e.g. flaps, fold-out pages) should not exceed 24 pages. Pop-up books should not exceed six double-page spreads.

Size: The page size of the finished book should not exceed 300mm in width or height

THE TEXT

The book may be fiction or non-fiction. The entrant may:

a. devise their own text/story or b. collaborate with a writer or c. use a traditional story (e.g. a fairy tale)

N.B. A published text that is in copyright would not be eligible.

The text may be typed or clearly handwritten.

THE ARTWORK

Size: Artwork may be prepared either to the same size, or up to 30% larger than the page size of the finished book. Corner marks to show the trim (i.e. the edge of the final printed page) should be clearly indicated outside the area of the actual artwork.

Bleed: Allow at least 5mm extra (after reduction) outside the trim if the artwork is to come to the edge of the printed page. Avoid putting important details within 5mm of the edge of the page, or where illustration crosses the spine.

Medium: Any medium may be used, but it is advisable to avoid luminous paint, fragile collage or other media that will not reproduce well.

Lettering: Any lettering should be in black, and should be put onto a transparent overlay, not directly onto the artwork.

Entrants should bear in mind that extremely fragile artwork may be damaged. While every care is taken with all submitted work, Macmillan cannot be held responsible for any loss or damage.

WHAT THE JUDGES ARE LOOKING FOR

The competition is for a series of outstanding illustrations that show that the artist understands how to match pictures to text. The pictures should also demonstrate the entrant’s grasp of narrative, pacing and characterisation.

The judges will focus on the quality of the illustrations rather than the standard of the writing. Good stories are welcome, but the text will not be the main criterion for judging.

Entrants should supply a well-produced rough dummy, which clearly shows how the style and layout of the illustrations contribute towards the development of the story and characterisation. It is important to avoid monotonous layouts with little contrast in composition or colour. Too many words can overwhelm the illustration.

The judges are ultimately looking for high-quality illustrations, suitable for children’s books, which are considered to be an original contribution to the field.

THE JUDGES

The judging panel will include leading contemporary children’s book illustrators, an experienced children’s bookseller, the Publishing Director at Macmillan Children’s Books and the Children’s Art and Design Director.

THE PRIZES

First Prize: £1,000 Second Prize: £500 Third Prize: £250

Please note that the judges reserve the right: • To award a prize to more than one entrant, in which case the prize money may be split between two winners. • Not to award a prize. The jury’s decision will be final.

PRESENTATION OF PRIZES

The winners and shortlisted entrants will be notified by Friday 5th May 2017.

Please note that prizes will be awarded in June – exact date to be confirmed. The prize winners, plus the highly commended entrants and their tutors, will be invited to a reception where the winners’ work will be exhibited. The winners’ and the highly commended students’ work will be exhibited at a venue to be confirmed.

RETURN OF ENTRIES

Work must be collected from Macmillan’s offices in person or delivered to the University/College campus by DPD. No deliveries will be made to private addresses. Work not collected by Friday 28th July 2017 will be destroyed. All portfolios must be signed out before being removed from the building. Please indicate on your entry form which method of return you require.

ELIGIBILTY

The competition is open to all students in higher education establishments in the United Kingdom during the academic year 2016/2017.

PUBLICATION

Macmillan Children’s Books will have the option to publish any of the prize winners. An offer to publish would be made and would include an advance against the royalties to be earned. This would be in addition to the prize money.

For further information email: macmillanprize@macmillan.co.uk

TERMS AND CONDITIONS

Please note that the judges reserve the right:

To award a prize to more than one entrant, in which case the prize money may be split between two winners, at the judges’ discretion.

Not to award a prize.

The jury’s decision will be final.

NOTES ON SUBMISSION OF PHYSICAL ENTRIES

Entries must be submitted in a secure portfolio, preferably one that zips or poppers closed. Work not submitted in a portfolio cannot be accepted and will be returned to the entrant.

Entrants may submit more than one entry, but each entry must be in a separate portfolio. Any portfolio which contains more than one entry will not be considered.

Each portfolio must be clearly labelled with an entry form attached to the front. The entrant’s name and address and the name of the entrant’s college and both a home and college contact telephone number must be clear, along with the entrant’s email address. The entry form must be countersigned by the entrant’s college tutor, lecturer or course leader.

Every piece of artwork in the portfolio must be individually labelled on the back with the entrant’s name and college.

Entries, clearly marked ‘The Macmillan Prize’, should be sent, or delivered during normal office hours (9.30am to 5.30pm, excluding lunch 12:00pm-13:30pm), from Tuesday 18th April to Thursday 20th April inclusive, to:

Macmillan Children’s Books 20 New Wharf Road London N1 9RR

Tutors are encouraged to collect all portfolios from their students and have them delivered as a group submission from the university.

DIGITAL SUBMISSIONS

Please supply digital entries as one PDF file, with a separate page at the front that shows only your name, email address and telephone number.

The file name should only include your full name (Firstname_Lastname).

The digital entries will be viewed on a display 1920px X 1080px (150DPI) so we don't need print quality files and files larger than 10MB may not be uploaded correctly.

You do not need to supply the text on a separate layer within the pdf. Please include the text within the flattened image.

You don’t need to supply both the final colour and rough images for a spread. Final colour pages can appear alongside the rough pages in your book.

After entering you will receive a confirmation email within 2 hours - please check your junk folder before uploading again.

You can submit your digital entry whenever you want, until the final deadline of 5:30pm on Thursday 20th April. Please ensure you allow yourself plenty of time to complete your submission before this deadline, as we will not accept entries after that time. A link will appear here on 1st April so you can upload your submission.

If shortlisted, the entrant will need to supply the original artwork or high-quality print-outs suitable for exhibition by Friday 12th May.

Additional information: What is a standard picture book format?

We ask that submissions are 32 pages long as this is the standard picture book format.

The standard format for a 32 page self-ended picture book is as follows:

Page 1 stuck down

Pages 2/3 endpapers

Pages 4/5 imprint page and title page

12 story spreads

Pages 30/31 endpapers

Page 32 stuck down

This is a guideline. Provided the 32 pages include an imprint page and title page, students may wish to use the available pages differently.

[thehogwartsgrapevine-blog]

QUIDDITCH: New Teams to Triumph or Tumble?

Hufflepuff

Postponing their try-outs due to the weather, Hufflepuff was forced to begin try-outs at six o’clock on Sunday morning. Molly Weasley (Seventh Year), who was made Captain after Bethan Macmillan graduated last year, was far more relaxed than her cousin Louis Weasley had be the previous day. Hufflepuff was in need of three players: a Keeper, a Chaser and a Beater.

Molly Weasley held a three hour meeting with the team members that remained from last year to decide who would fill the spaces. There was clearly an issue of dispute as Chaser Matthew Hopkins (Seventh Year) stormed out to the meeting an hour in. Sources state that this was over the appointment of his brother, Jonathan Hopkins (Sixth Year), as their new Chaser, meaning the two brothers will have to work closely and effectively side by side if Hufflepuff stands a chance at winning the Quidditch Cup this year… Something they have not managed to achieve since Ted Lupin was their Captain in 2015.

Subsequent to his walk out, Matthew Hopkins was absent for discussions of the new Beater and was furious to discover that Ian Penthallow (Seventh Year), Hopkins’ dorm mate had been given the spot. The two have a long standing grudge after Penthallow dated Hopkins’ sister three years ago and while the couple broke up at the beginning of last year, the friendship the two boys shared never fully recovered. Penthallow’s skill is undeniable but the question remains whether it will be worth the cost of Hopkins’ anger.

Finally, Samuel Macmillan (Fifth Year) was appointed their new Keeper with far less debate than the other new members and it is hoped that his calm and collected nature will help the new team smooth over any grievances.