The glass ceiling hypothesis... to focus on the often invisible barriers

            German Expressionist architectural design is generally noted for its free, frenetic forms, for design that left behind all conventions. The Ouroboros group takes its name from an alchemical symbol: a dragon that forms a perfect alchemical symbol; the circle of the platform is a glass ceiling from which the boats emerge.  The platform is crossed by a wooden beam connected to the ceiling by three ropes. The rooms have become dwarfed with the hook of large solar boats that support the vaulted ceiling, three to believe our eyes and come see the piece brilliantly illuminated by three reflections, it is the test of a rural and not idyllic world in which the quest of the Holy Grail is simply a nightmare.

The futuristic Expressionist glass projects in both amorphous and crystalline arrangements can be seen as an expression of the utopian expectations for a new society after the German Revolution of 1918. Expressionist manifestoes and literature, on the other hand, reveal a thoroughgoing interest in a literary-architectural convention associated with glass and crystal, an iconographic theme that stretches from King Solomon, Jewish and Arabic legends, medieval stories of the Holy Grail, through the mystical Rosicrucian and Symbolist tradition down to Expressionism. Expressionist architects, familiar with the various earlier conventions, in a highly eclectic fashion reinterpreted the meaning of the glass-crystal symbolism as a metaphor of transformation to signify a changed society. This article, though it begins and ends with a discussion of Expressionist design, deals primarily with the sources and changes of this iconographic tradition.
The general-case glass ceiling hypothesis states that not only is it more difficult for women than for men to be promoted up levels of authority hierarchies within workplaces but also that the obstacles women face relative to men become greater as they move up the hierarchy. Gender-based discrimination in promotions is not simply present across levels of hierarchy but is more intense at higher levels. Empirically, this implies that the relative rates of women being promoted to higher levels compared to men should decline with the level of the hierarchy. This article explores this hypothesis with data from three countries: the United States, Australia, and Sweden. The basic conclusion is that while there is strong evidence for a general gender gap in authority—the odds of women having authority are less than those of men—there is no evidence for systematic glass ceiling effects in the United States and only weak evidence for such effects in the other two countries.
The metaphor of the glass ceiling helps one to focus on the often invisible barriers qualified women have to deal with, in order to access to the highest professional positions.
   

Taken on: January 27, 2018

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