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Using a feminist institutional approach, we examine the dominant institutional views and frameworks explaining company positions regarding the implementation of gender policies. A multiple case study was performed on four Spanish companies involved in sectors related to the circular bioeconomy. The analysis relied on secondary sources and semi-structured interviews with women in positions of responsibility in these companies. The results provide evidence on the gender issues encountered and their limitations in terms of organizational change, as well as the dominant institutional frameworks of the companies. The findings suggest that the main drivers for change are intense state regulation, company commitment to formalizing measures and the presence of critical actors. [ABSTRACT FROM AUTHOR]

For decades, feminism has driven a gender equality agenda in development policies. Decolonial and intersectional feminisms, for example, have played an anti-racist and anti-colonial agenda. Women's demands have found different degrees of incorporation into international plans, such as the Millennium Development Goals (MDGs) and the Sustainable Development Goals (SDGs). In this scenario, this work compared gender equality in the MDGs and the SDGs to analyze their advances and challenges in the face of the gender mainstreaming agenda and intersectional and decolonial demands. Documental research was carried out on the objectives, targets, and results of the MDGs and the objectives and targets of the SDGs. The results indicate that the SDGs are more ambitious than the MDGs by adopting a broader and more transversal approach to gender equality. However, there are important gaps in operationalizing an approach to gender inequalities that considers the intersections of different forms of discrimination that affect different groups of women. [ABSTRACT FROM AUTHOR]

We problematize gender inequalities surrounding independent theater awards in Córdoba (Argentina) to understand the logic of recognition in an asymmetric world of art. To this end, we theoretically review the criteria of distinction from a gender perspective, considering aesthetic and extra-aesthetic aspects of the works, as well as the notion of genius, historically associated with the role of direction. We also analyze the recognition and self-recognition of women and dissidence in directorial roles. We then examine public and private spheres as organizers of theatrical practices. We examine the case of the Provincial Theater Awards. We include statistical data, systematize the repercussions of the 2019 edition and compare positions on possible affirmative or transformative solutions regarding the injustices involved in recognition. [ABSTRACT FROM AUTHOR]

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