{"id":1760,"date":"2023-11-13T09:45:47","date_gmt":"2023-11-13T17:45:47","guid":{"rendered":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/?p=1760"},"modified":"2023-11-13T09:45:47","modified_gmt":"2023-11-13T17:45:47","slug":"gaby-franger-publications","status":"publish","type":"post","link":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/2023\/11\/13\/gaby-franger-publications\/","title":{"rendered":"Gaby Franger Publications"},"content":{"rendered":"

Franger, G. (2023). Else Oppler. Eine au\u00dfergew\u00f6hnliche K\u00fcnstlerin 1875 \u2013 1965<\/em>. (Else Oppler. An extraordinary artist). N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

\"\"<\/a> <\/strong><\/p>\n

Auer, S, Franger, G. & Niehoff-Hack, A. (Eds) (2022). Plakat Kunst. Poster Art<\/em>. N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

 <\/p>\n

Bala, E,. Franger, G.& Jakovljevi\u0107-\u0160evi\u0107, T. (2022): Oko Glave, Razli\u010diti diskursi marame kao kulturnoc ozhna\u010ditelja.<\/em> (Around the head. Discourses on the meaning of the headscarf). Novi Sad.<\/p>\n

 <\/p>\n

Cyprian, G., Franger, G.& Ghanem, R. (Eds) (2021) Technik#Weiblich#Logisch. Digital. Gendergerecht. Nachhaltig.<\/em> (Technology#Female#<\/strong>Logical<\/em> – digital, equitable, sustainable<\/strong>).<\/strong> N\u00fcrnberg: Frauen in der Einen Welt. https:\/\/www.frauenindereinenwelt.de\/de\/DE_Publikationen\/DE_Kataloge\/DE_2020-22_Technik-Weiblich-Logisch<\/a>.<\/p>\n

 <\/p>\n

Clover, D., Franger, G. (2021). Cultures of Headscarves. Feminist Adult Intercultural Education Through a Challenging Exhibition, in: Kathy Sanford, Darlene E. Clover, Nancy Taber, und Sarah Williamson: Feminist Critique and the Museum<\/em>, Brill | Sense, S. 284-305<\/p>\n

 <\/p>\n

Franger, G., Sch\u00f6nweger, A. (2021): Cultures of headscarves: Intercultural Education through a Challenging Feminist Exhibition, in: Clover, D. E., Dzulkifli, S., Gelderman, H., & Sanford, K. Feminist Adult Educators\u2019 Guide to Aesthetic, Creative and<\/em> Disruptive Strategies in Museums and Community<\/em>. University of Victoria Gender Justice, Creative Pedagogies and Arts- Based Research Group. https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/feminist-adult-educators-guide\/.<\/p>\n

 <\/strong><\/p>\n

Franger, G. (2019) Dialogue for reconciliation: Exhibition concepts. In Akkent, M.. Kovar, N. Feminist Pedagogy: Museums, Memory Sites and Practices of Remembrance<\/em>. Istanbul Publication of Istanbul Women’s Museum, p. 244-251.<\/p>\n

 <\/p>\n

Franger, G. (Ed.) (2019) Alltag, Erinnerung, Kunst und Aktion. R\u00fcckblick nach Vorne<\/em>. (Daily Life, Memory, Art and Action. Retrospektive Back to the Future<\/em>).<\/em> N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

 <\/p>\n

Franger, G. (2019) Artivismus \u2013 Kreativer Widerstand. (Artivism \u2013 Creative Resistance). In Frieden ist eine Kunst. Kultur, Konflikt und Widerstand.<\/em> Bund f\u00fcr Soziale Verteidigung e. V. Hintergrund- und Diskussionspapier, No. 65, June, p. 44-52.<\/p>\n

 <\/p>\n

Bala, E., Franger, G. (Eds). (2019)  (How feminine is the city? F\u00fcrth and its Sister Cities Limoges, Marmaris, Midoun, Paisley, Xylokastro. <\/em> Midoun.<\/p>\n

https:\/\/www.frauenindereinenwelt.de\/de\/DE_Publikationen\/DE_Kataloge\/DE-arab_2018_weibliche_Stadt<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

Franger, G. (2018) Frida Folk<\/em>. Chennai: Tara Publisher.<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Bala, E., Franger, G. (Eds) (2018). Wie weiblich ist die Stadt? Was Kommunen k\u00f6nnen und was Frauen leisten<\/em>. N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

 <\/strong><\/p>\n

Franger, G. (2017). Discovering Commonalities in Apparent Differences \u2013 Changing the Perspective on the Self and the Other. In Akkent, Meral (Ed) Women’s museums: Centre of Social Memory, and Place of Inclusion<\/em>, Istanbul: Publications of Women’s Museum Istanbul, p. 166-179.<\/p>\n

 <\/p>\n

Cyprian, G., Franger, G. (Eds) (2017): ausgekocht?<\/em> (The end of cooking? boiled out?).<\/strong> N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

https:\/\/www.frauenindereinenwelt.de\/de\/DE_Publikationen\/DE_Kataloge\/DE_2016-17_ausgekocht<\/a>.<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Franger, G. (Ed). (2015). Kriegssocken und Peacemakerinnen<\/em>. (War socks and Peacemakers). N\u00fcrnberg: Frauen in der Einen Welt.    <\/p>\n

\"\"<\/a>                                                                                                                             <\/p>\n

 <\/p>\n

Franger, G. (2014). Arpilleras \u2013 arte textile testimonial de mujeres en el Per\u00fa entre elaboraci\u00f3n del trauma, denuncia y medio de subsistencia. (Arpilleras – women’s testimonial textile art in Peru between trauma elaboration, denunciation and means of subsistence). In Per\u00fa: Medios, Memoria y violencia. <\/em>Lima, p. 157-174.<\/em><\/p>\n

\"\"<\/a><\/p>\n

Franger, G. (2014). Survival-Empowerment \u2013 Courage: Insights into the History and Developments of Peruvian Arpilleras. In Marjorie Agos\u00edn (Ed): Stitching Resistance. <\/em>Women, Creativity, and Fiber Arts,<\/em> Kent, p. 101-118.<\/p>\n

 <\/p>\n

Franger, G. (Ed.) (2009). Schicksalsf\u00e4den. Geschichten in Stoff von Gewalt, Hoffen und \u00dcberleben<\/em>.(Threads of destiny: Testimonies of violence, hope and survival). N\u00fcrnberg: Frauen in der Einen Welt. https:\/\/www.frauenindereinenwelt.de\/de\/DE_Publikationen\/DE_Kataloge\/DE_2009_Schicksalsfaeden<\/a>.<\/p>\n

 <\/p>\n

Bennewitz, N., Franger.G. (Eds) (2003): Geschichte der Frauen in Mittelfranken. Alltag, Personen und Orte, (History of the women in Middle Franconia. Everyday life, people and places). Cadolzburg: Ars Vivendi.<\/p>\n

 <\/strong><\/p>\n

Bennewitz, N., Franger.G. (Eds) (1999): Am Anfang war Sigena. Ein N\u00fcrnberger Frauengeschichtsbuch. (In the Beginning was Sigena. A Nuremberg women’s history book). Cadolzburg: Ars Vivendi.<\/p>\n

 <\/strong><\/p>\n

Franger, G. (Ed).(1998). Verflechtungen- Korbmacherinnen in Zambia und in Oberfranken<\/em>, (Entanglements \u2013 female basket makers in Zambia and Upper Franconia). N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

 <\/p>\n

Franger, G. (Ed) (1995, 1996).<\/em> The art of survival. Fabric Images of Women\u2019s Daily Lives<\/em>, Madras und N\u00fcrnberg (German, Russian and English).<\/p>\n

 <\/strong><\/p>\n

Franger, G., Pablo, M. (Eds) (1994) Abenteuer Ehe. Heiratsmigrantinnen gestern und heute. (The adventure of marriage. Marriage migrants yesterday and today). N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

 <\/p>\n

Franger, G. (Ed) (1992) \u201eDas h\u00e4tte ich mir nicht tr\u00e4umen lassen, da\u00df ich mal Indianerw\u00e4sche auf meine W\u00e4schelein\u2019 h\u00e4ng<\/em>.\u201c Begegnungen\u2013 Aymarab\u00e4uerin in Franken, der Oberpfalz und \u00d6sterr<\/em>eich. (\u201cI never dreamed that I would be hanging Indian laundry on my clothes.\u201c Encounters) N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Franger, G., Scheub, U. (Eds). (1991).<\/em> \u201eWir werden nicht schweigen\u201c. Frauengeschichten aus Israel und Pal\u00e4stina.<\/em> (“We Will Not Be Silent.” Women’s Stories from Israel and Palestine). N\u00fcrnberg: Frauen in der Einen Welt.<\/p>\n

\"\"<\/a><\/p>\n

 <\/strong><\/p>\n

Franger, G. (1988) Arpilleras, Cuadros que hablan. Vida cotidiana y organizaci\u00f3n de mujeres, Lima.<\/p>\n

 <\/strong><\/p>\n

Akkent, M., Franger,G. (Eds). (1987). Das Kopftuch, Ein St\u00fcckchen Stoff in Geschichte und Gegenwar<\/em>t. (The headscarf, a piece of fabric in the past and present.) Frankfurt: Da\u011fyeli Verlag (German and Turkish).<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Franger, G. (2023). Else Oppler. Eine au\u00dfergew\u00f6hnliche K\u00fcnstlerin 1875 \u2013 1965. (Else Oppler. An extraordinary artist). N\u00fcrnberg: Frauen in der Einen Welt.   Auer, S, Franger, G. & Niehoff-Hack, A. (Eds) (2022). Plakat Kunst. Poster Art. N\u00fcrnberg: Frauen in der Einen Welt.   Bala, E,. Franger, G.& Jakovljevi\u0107-\u0160evi\u0107, T. (2022): Oko Glave, Razli\u010diti diskursi marame […]<\/p>\n","protected":false},"author":19351,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1760","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/posts\/1760","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/users\/19351"}],"replies":[{"embeddable":true,"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/comments?post=1760"}],"version-history":[{"count":1,"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/posts\/1760\/revisions"}],"predecessor-version":[{"id":1762,"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/posts\/1760\/revisions\/1762"}],"wp:attachment":[{"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/media?parent=1760"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/categories?post=1760"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/onlineacademiccommunity.uvic.ca\/comarts\/wp-json\/wp\/v2\/tags?post=1760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}