what’s cooking,man? masculinity in European cooking shows after <Emphasis Type="Italic">The Naked Chef</Emphasis>

The cooking show The Naked Chef (1999, 2000, 2001) with Jamie Oliver has often been highlighted as an example of the cooking show genre’s potential for reformulating masculine identity through cooking. Through a series of close readings of a selection of cooking shows from France, the UK and Denmark post-The Naked Chef and through a dialogue with other works on the subject, this article will attempt to identify the tendencies in the constructions and negotiations of masculinity in the cooking show genre following The Naked Chef and to understand these in relation to a revision of masculine identity in contemporary culture. The article is informed by poststructural gender theory and understands ‘doing food’ and ‘doing masculinity’ as two mutually constituting practices. The analyses identify four new tendencies in the construction of masculinity in cooking shows at the beginning of the twenty-first century: 1) rechefisation, 2) the TV chef as a moral entrepreneur, 3) the TV chef and the revitalisation of the national myth and 4) cooking as masculine escapism. The article concludes that the innovation of the masculine identity that was launched in The Naked Chef has not continued; rather, the genre has become a platform for the revitalisation of traditional masculinity discourses.     

what’s in a face?: Sara Baartman,the (post)colonial gaze and the case of <Emphasis Type="Italic">Vénus Noire</Emphasis> (2010)

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche’s film Vénus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche’s peculiar filmic strategies is the crucial focus of this paper. While Sara’s body is continually exposed and violated, Vénus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari’s (1987 [1980]) account of the close up, I explore how Kechiche’s take on Sara’s face builds a strong connection with the spectator’s extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator’s own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world.     

paradise,built in hell: decolonising feminist utopias in <Emphasis Type="Italic">Top of the Lake</Emphasis> (2013)

Jane Campion and Gerard Lee’s miniseries Top of the Lake (2013) marked New Zealand-born but Australian resident Campion’s return to New Zealand for the first time since The Piano (1993). The show’s central subject of child sexual abuse by state officials echoes the different yet resonating political situations in twenty-first century Australia and New Zealand, a state of emergency that allows for the emergence of what Rebecca Solnit (2009) calls a ‘disaster community’. Implicitly addressing critiques of her colonialist gaze in the earlier film, the miniseries both decolonises the idea of the utopian no-place and offers an alternate, emplaced vision of relational, anti-colonial provisional utopia through the main, mirroring female characters, Detective Robin Griffin and her half-sister Tui Mitcham. In contrast to contemporaneous police procedurals focussed on lone female officers, Top of the Lake rejects the authority of the police state and offers a resolution aslant that critiques generic expectations of individual heroism and resolution within a legal framework. Looking specifically at how the show knows its place—Lake Wakatipu on South Island, New Zealand—the article offers a close reading of Top of the Lake’s formal critique of the male colonial gaze and its adoption of a feminist soundscape in relation to Campion’s oeuvre; and considers its politics through indigenous media theory, to argue that it marks an initial step towards a decolonisation of viewing practices in relation to feminist conceptions of utopia.     

Internationalism and Commitment at the Kitchen Table

The contributors to this issue focus on legal internationalism (Peroni 2016; Turan 2016), including hybrid mixes with nationalist forms (Sankey 2016). They have provoked us as editors to think more about these sites and forms of engagement. Sankey shows how civic participation in the ECCC has played a key role in surfacing the gendered harms of separation and starvation. Turan highlights the problems with ICC exclusion of the experience of men and boys from sexual violence. Peroni expresses her hesitations over the Istanbul Convention given an association between assumed vulnerability and migrant women, while admiring its uncoupling of violence and culture. Cruz’s interview with Wendy Brown (2016) contextualizes and expands on these themes as they consider, with other participants, the future of feminist theory in the context of neo-liberal capturing of rights and legal space. Thinking more about internationalism and commitment in this context also helps us hold a mirror up to ourselves as we reflect more critically on our own naming of FLS as an ‘international’ journal. Together these contributions, and the reviews of new work, play a role in fleshing out an editorial commitment to enacting the journal as a living thing that ‘hangs together somehow’ (Mol 2002) even as it is known differently in different places.     

On Being Uncomfortable

Since the last issue of Feminist Legal Studies, we editorial board members have had lots of conversations about comfort, displacement and alienation. As we developed the programme for #FLaK2016 we thought about it as a kind of pulling ourselves out of our comfort zone (Fletcher et al. in Fem Leg Stud 24:1–6, 2016), if academic events and journals ever have a comfort zone. Drawing on a mix of feminist live performance methods and a science and technology studies-type curiosity for objects of experimentation, we tried out a kitchen table method of hosting a live research conversation with activists, artists and academics over two days (Fletcher in Fem Leg Stud 23:241–252, 2015). But we had not fully anticipated the way that the Brexit result would contribute to and complicate discomfort. A fuller analysis of FLaK awaits a later moment, but here we pick out this one aspect of our gathering—feelings of discomfort – as they animate the contributions to this issue in interesting ways.     

speculating Latina radicalism: labour and motherhood in <Emphasis Type="Italic">Lunar Braceros 2125</Emphasis>-<Emphasis Type="Italic">2148</Emphasis>

This essay unpacks the utopian impulse in Rosaura Sánchez and Beatrice Pita’s novella Lunar Braceros 2125-2148 (2009). As speculative fiction that has strong, explicit critiques on labour and globalisation, Lunar Braceros crafts a future-historical and future-present world where racialised forms of labour exploitation are the norm. The novella offers the radical response of worker revolution that can only ever be a potential and desire. The novella does this by presenting an ambivalent labour politics that results in the dismantling of the family as a heteronormative unit and that depend on the figure of the lost radical mother. The intervention this essay makes into Latina/o studies and feminist studies is to rearticulate the figure of motherhood through a specific lens of radicalism that is both queer and proletarian. By thinking about Latina radicalism through the intersections of labour, gender and non-normative sexuality in the novella, we see that the lost mother figure disrupts capitalist patriarchy by offering radical potentiality.     

many voices,one chant: 30th anniversary roundtable

This article is extracted from a discussion between Camel Gupta, Jay Bernard and Sita Balani. We took as our starting point ‘Becoming visible: Black lesbian discussions’ (Carmen et al, 1984), featured in the 1984 special issue of Feminist Review on black feminism. Here, we reflect on the political, cultural and technological transformations of queer life since the publication of ‘Becoming visible’. The original discussion focused on questions of identity, safety, the public and the private, and the tensions between race and sexuality. The discussants took personal and political risks to be active organisers. As the beneficiaries of that activism, we interrogate not only the broader ideas of race, sexuality and feminism, but critique some of the discussions circulating within our own ranks. We also consider our responsibility to follow our predecessors and to learn from their mistakes. We are more visible than ever, but at what price? What has been gained and lost? Beyond visibility, what is our responsibility? In an attempt to understand these questions we cover contemporary notions such as QTIPOC, monolithic whiteness and online activism.     

sex,work, meat: the feminist politics of veganism

Since the publication of The Sexual Politics of Meat in 1990, activist and writer Carol J. Adams (2000 [1990]) has put forth a feminist defence of veganism based on the argument that meat consumption and violence against animals are structurally related to violence against women, and especially to pornography and prostitution. Adams’ work has been influential in the growing fields of animal studies and posthumanism, where her research is frequently cited as the prime example of vegan feminism. However, her particular radical feminist framework, including her anti-pornography and anti-prostitution arguments, are rarely acknowledged or critiqued. This article challenges the premises of Adams’ argument, demonstrating that her version of vegan feminism is based upon an unsubstantiated comparison between violence against women and violence against other-than-human animals, and on the silencing and exclusion of sex workers as subjects. The article contests the limited reading of Adams, and of feminism, offered in some key works in animal studies and posthumanism, at the same time that it recognises the need to challenge the anthropocentrism evident in much feminist theory. By way of alternative approaches to the sexual politics of veganism, the article highlights the interventions of artist and activist Mirha-Soleil Ross, proposing that her situated and embodied commitment to animal rights brings sex worker agency into the story, while resisting simple comparisons among different forms of violence. The concerns raised by Ross overlap in compelling ways with recent research in performance studies and labour history, bringing the question of work and workers, animal and human, to the fore. These studies point towards a potentially more useful framework than that of Adams for understanding the human violence suffered by different species, including those destined to be eaten by people.     

Louise Bourgeois,ageing, and maternal bodies

This article explores late works by contemporary artist Louise Bourgeois that illuminate current concerns about ageing maternal bodies and the ambivalent responses of fear and loathing that they provoke. In 2003, Louise Bourgeois made an installation for the Freud Museum in Vienna entitled The Reticent Child, on the subject of her own earlier pregnancy and birth of her son, one of several works featuring maternity and fertility which Bourgeois has created in old age. In Nature Study 2007, made at the age of 96 years, she depicts carnal couples and pregnant and birthing figures embodied in brilliant pinks and scarlet reds. Bourgeois represents women as the powerful agents of the maternal function, marking a return to motherhood as a central topic of her earlier work. Edward Said posited sources of cultural meaning as ‘the whole notion of beginning, the moment of birth and origin … reproductive generation, maturity’, and ‘the last great problematic … the last and late period of life, the decay of the body’ (Said, 2006: 4–6). What does it mean for Bourgeois to return to the theme of birth in her nineties and how does it resonate with contemporary anxieties about the ageing maternal body? If the space of the gallery is a safe arena for a woman artist to present sexuality and maternity in old age, how are older women who break codes of fertility represented elsewhere? In a culture which is hostile to the conjunction of ageing women with motherhood, I shall argue that Bourgeois’ late maternal works can help to undo the taboo on older mothers.     

Cross-Currents: Elizabeth von Arnim,Max Beerbohm and George Bernard Shaw

Abstract

When Elizabeth von Arnim’s novel Introduction to Sally appeared in 1926, the critical response was divided. Dame Ethel Smyth may have told von Arnim the book was her ‘masterpiece’ but some were less convinced; the reviewer in Punch, for instance, considered it ‘a coarse-grained fantasy’. By situating Introduction to Sally in a wider literary context that includes Max Beerbohm’s Zuleika Dobson (1911 Beerbohm, Max (1964a), ‘To Reggie Turner, 3 November 1911’, in Rupert Hart-Davis (ed.), Letters to Reggie Turner, London: Davis, p. 126. [Google Scholar]) and George Bernard Shaw’s Pygmalion (1914 Shaw, George Bernard (1914), ‘Pygmalion: A Romance in Five Acts’, Everybody’s Magazine, Vol xxxi, (5). [Google Scholar]), this article explores the personal connections between these three authors and the thematic cross-currents in these texts. Is von Arnim’s novel really as ‘coarse’ and ‘vulgar’ as some earlier critics suggest? Or is it a novel that successfully mixes the plausible with the artificial, the comic and the socially catastrophic, in ways that, more than a decade later, resonate with the work of her friends to highlight several continuing preoccupations?     

Beyond ‘Revenge Porn’: The Continuum of Image-Based Sexual Abuse

In the last few years, many countries have introduced laws combating the phenomenon colloquially known as ‘revenge porn’. While new laws criminalising this practice represent a positive step forwards, the legislative response has been piecemeal and typically focuses only on the practices of vengeful ex-partners. Drawing on Liz Kelly’s (Surviving sexual violence. Polity Press, Cambridge, 1988) pioneering work, we suggest that ‘revenge porn’ should be understood as just one form of a range of gendered, sexualised forms of abuse which have common characteristics, forming what we are conceptualising as the ‘continuum of image-based sexual abuse’. Further, we argue that image-based sexual abuse is on a continuum with other forms of sexual violence. We suggest that this twin approach may enable a more comprehensive legislative and policy response that, in turn, will better reflect the harms to victim-survivors and lead to more appropriate and effective educative and preventative strategies.     

Tracing the voice: Pandita Ramabai's life through her landmark texts

‘The silence of a thousand years is broken’ exulted Rachel Bodley's introduction to Pandita Ramabai's feminist manifesto The High‐caste Hindu Woman, which was published in 1887 and sold 9,000 copies internationally within a year.1 Rachel L. Bodley, ‘Introduction’ in Pandita Ramabai, The High‐caste Hindu Woman (Maharahstra State Board of Literature and Culture) Bombay, 1887, reprinted 1977, pp. i–xix (reference p. i). The 1888 reprint of the book in the United States mentions that it is the ‘tenth thousand’. View all notes Its author was instantly made into an icon in Western countries from the United States to Australia, to linger on in their collective memories, even as she was relegated to ‘silence’ in the social histories and discourses of India. This conundrum, pivotal to an understanding of her life and, I submit, rooted in her feminism, is still to be addressed. The numerous and informative biographies of Ramabai (23 April 1858–5 April 1922) have been located within two distinct paradigms: one projects her life, sometimes almost hagiographically, as a triumphant expression of the Christian impulse;2 Ramabai's Christian biographies in English include S.M. Adhav, Pandita Ramabai (The Christian Literature Society) Madras, 1979; Bodley, ‘Introduction’; Rajas K. Dongre and Josephine F. Patterson, Pandita Ramabai: a Life of Faith and Prayer (The Christian Literature Society) Madras, 1963; Nicol McNicol, Pandita Ramabai (Association Press) Calcutta, 1926; and Padmini Sengupta, Pandita Ramabai Saraswati: Her Life and Work (Asia Publishing House) Bombay, 1970. Her best‐known Marathi Christian biography is Devadatta Tilak, Maharashtrachi Tejaswini Pandita Ramabai (Nagarik Prakashan) Nashik, 1960. View all notes and the other valorises her advocacy of women's education while sidestepping the issue of religion.3 Ramabai's Hindu (or non‐Christian) biographies include Tarabai Sathe, Aparajita Rama (D.P. Nagarkar) Pune, 1975, and K.S. Thackeray, Pandita Ramabai (V.R. Baum) Mumbai, 1905 (both in Marathi); and A.B. Shah, ‘Introduction’ in A.B. Shah (ed.), The Letters and Correspondence of Pandita Ramabai (Maharashtra State Board of Literature and Culture) Bombay, 1977, pp. xi–xxxvi (in English). View all notes Both elide her feminism. Recent feminist scholarship on Ramabai has impressively interwoven multiple disciplinary and ideological strands, but tended to focus either on her passage to Christianity,4 Susan Glover, ‘Of Water and of the Holy Spirit’, unpublished PhD thesis, University of Sydney, 1995; Gauri Viswanathan, ‘Silencing Heresy’ in Outside the Fold: Conversion, Modernity and Belief (Oxford University Press) Delhi, 1998, pp. 118–52. View all notes or her reverse gaze at the West during international travels.5 Antoinette Burton, ‘Restless Desire’ in A. Burton, At the Heart of the Empire: Indians and the Colonial Encounter in Late‐Victorian Britain (University of California Press) Berkeley, 1998, pp. 72–109; Inderpal Grewal, ‘Pandita Ramabai and Parvati Athavale’ in I. Grewal, Home and Harem: Nation, Gender, Empire, and the Cultures of Travel (Duke University Press) Durham, NC and London, 1996, pp. 179–229. Kumari Jayawardena, ‘Going for the Jugular of Hindu Patriarchy’ in Vicki L. Ruiz and Ellen Carol DuBois (eds), Unequal Sisters, 3rd edition (Routledge) New York and London, offers a variation on Ramabai's interaction with American women, in terms of American aid to her educational project in India and its inherent tensions. View all notes The parameters of her life and of her feminism have rarely been clearly outlined.6 I have tried to do this in Meera Kosambi, ‘Introduction’ in M. Kosambi (ed.), Pandita Ramabai through Her Own Words: Selected Works (Oxford University Press) Delhi, 2000, pp. 1–32; and Meera Kosambi, ‘Returning the American Gaze: Situating Pandita Ramabai’s American Encounter' in M. Kosambi (ed.), Pandita Ramabai's American Encounter: ‘The Peoples of the United States’, 1889, M. Kosambi (trans.) (Indiana University Press) Bloomington, 2003, pp. 1–46. View all notes In this article I propose to analyse her feminism by tracing her multiple ideological trajectories mainly through a discussion of some of her landmark writings, and then indicate the problematic of her representation of the highly troped ‘oppressed Indian woman’.     

active women and ideal refugees: dissecting gender,identity and discourse in the Sahrawi refugee camps

Since the Moroccan invasion in 1975, official reports on visits to Sahrawi refugee camps by international aid agencies and faith-based groups consistently reflect an overwhelming impression of gender equality in Sahrawi society. As a result, the space of the Sahrawi refugee camps in Algeria and, by external association, Sahrawi society and Western Sahara as a nation-in-exile is constructed as ‘ideal’ (Fiddian-Qasmiyeh, 2010, p. 67). I suggest that the ‘feminist nationalism’ of the Sahrawi nation-in-exile is one that is employed strategically by internal representatives of the Popular Front for the Liberation of Saguia el-Hamra and Río de Oro (POLISARIO), the Sahrawi Arab Democratic Republic (SADR) and the National Union of Sahrawi Women (NUSW), and by external actors from international aid agencies and also the colonial Moroccan state. The international attention paid to the active role of certain women in Sahrawi refugee camps makes ‘Other’ Sahrawi invisible, such as children, young women, mothers, men, people of lower socio-economic statuses, (‘liberated’) slave classes and refugees who are not of Sahrawi background. According to Elena Fiddian-Qasmiyeh (ibid.), it also creates a discourse of ‘good’, ‘ideal’ refugees who are reluctant to complain, in contrast to ‘Other refugees’. This feminisation allows the international community not to take the Sahrawi call for independence seriously and reproduces the myth of Sahrawi refugees as naturally non-violent (read feminine) and therefore ‘ideal’. The myth of non-violence accompanied by claims of Sahrawi secularity is also used to distance Western Sahara from ‘African’, ‘Arab’ and ‘Islamic’, to reaffirm racialised and gendered discourses that associate Islam with terrorism and situate both in the Arab/Muslim East. These binaries make invisible the violence that Sahrawis experience as a result of the gendered constructions of both internal and external actors, and silence voices of dissent and frustration with the more than forty years of waiting to return home.     

Understanding ‘The Panty Shanty’: off-campus house signs as cultural texts on gender and sexuality

Students at a large, prestigious, public university in the Midwestern region of the USA have a long-standing tradition of naming their rented houses off campus and communicating those names to the student body through displaying prominent and eye-catching house signs. Examples of signs names and visual characteristics are: ‘Betty Ford Clinic’ (featuring an image of a martini glass); ‘Morning Wood’ (referencing male sexual arousal and depicting a tent with a man's legs sticking out); ‘Time Well Wasted’ (written in pink over a beach scene and a martini glass); ‘Fox Den’ (images of a fox tail and a well-known sorority symbol); ‘Tequila Mockingbird’ (a play on words); and ‘Down on U’ (the sign references a sexual act for a house located on University Avenue). Through a socio-feminist and social constructionist perspective, the researchers use content analysis to explore how these house signs serve as cultural texts on gender and sexuality norms in the American undergraduate college setting. Based on our data, house signs reinforce dominant forms of gender ideologies, including hegemonic masculinity and emphasized femininity, both of which are associated with upholding and promoting institutionalized patriarchy (Connell, R. W., &; Messerschmidt, J. W. (2005 Connell, R. W., &; Messerschmidt, J. W. (2005). Hegemonic masculinity: Rethinking the concept. Gender &; Society, 19, 829–859. 10.1177/0891243205278639.[Crossref], [Web of Science ®] , [Google Scholar]). Hegemonic masculinity: Rethinking the concept. Gender &; Society, 19, 829–859). These house signs are also shown through the data to promote a campus culture of heteronormativity where partying, drinking, and casual sex are standards for social belonging, and where high rates of sexual assault persist. As opposed to viewing house signs as simply manifestations of student wit and harmless humor, the researchers critically evaluate if and how these visual displays serve as a mechanism through which gender and sexuality-related inequalities are perpetuated within a higher education institutional setting. Implications for students and their college campuses are discussed.     

‘Control Grabbing’ and small-scale agricultural intensification: emerging patterns of state-facilitated ‘agricultural investment’ in Rwanda

The Rwandan government's ongoing reconfiguration of the agricultural sector seeks to facilitate increased penetration of smallholder farming systems by domestic and international capital, which may include some land acquisition (‘land grabbing’) as well as contract farming arrangements. Such contracts are arranged by the state, which sometimes uses coercive mechanisms and interventionist strategies to encourage agricultural investment. The Rwandan government has adapted neo-liberal tools, such as ‘performance management contracts’, which make local public administrators accountable for agricultural development targets (often explicitly linked to corporate interests). Activities of international development agencies are becoming intertwined with those of the state and foreign capital, so that a variety of actors and objectives are starting to collaboratively change the relations between land and labour. The global ‘land grab’ is only one aspect of broader patterns of reconfiguration of control over land, labour and markets in the Global South. This paper demonstrates the ways in which the state is orienting public resources towards private interests in Rwanda, through processes that have elsewhere been termed ‘control grabbing’ [Borras et al. 2012 Borras, S.M., et al. 2012. Land grabbing and global capitalist accumulation: key features in Latin America. Canadian Journal of Development Studies/Revue canadienne d'études du développement, 33(4), 402–416. doi: 10.1080/02255189.2012.745394[Taylor &; Francis Online], [Web of Science ®] , [Google Scholar], 402–416].     

independence,dependency and interdependence: struggles and resistances of minoritized women within and on leaving violent relationships

This paper draws on research conducted in Manchester, UK, examining service responses to African, African-Caribbean, Irish, Jewish and South Asian women experiencing domestic violence (Batsleer et al., 2002). Popular discourses of domestic violence, which also feature in services, are underpinned by ‘victim-blaming’ together with an assumption that women only show agency and control when they leave violent relationships, and/or what are constructed as oppressive minority cultures. Contrary to these perceptions, firstly, I note competing notions ascribed to ‘independence’. Secondly, I highlight the strategies of resistance used by minoritized women whether they stay, or leave, abusive relationships, and examine the inter-relationships between gender, class and culture. Thirdly, I outline the level and type of support on offer, including key barriers and dilemmas to accessing sensitive and relevant services that respond to women's positions of minoritization, focusing particularly on refuge or shelter provision as they offer one of the key points of transition for women using domestic violence services. Lastly, I indicate some positive steps that can be taken by helping agencies to respond more appropriately to minoritized women facing domestic violence.     

Caring consumption as marketing schema: representations of motherhood in an era of hyperconsumption

What can representations of women's ‘caring consumption’ (Thompson 1996 Thompson, C., 1996. Caring consumers: gendered consumption meanings and the juggling lifestyle. Journal of consumer research, 22, 388–407. Available from: http://www.jstor.org/stable/2489789.[Crossref], [Web of Science ®] , [Google Scholar]) reveal about broad cultural understandings of the nature of motherhood? We study Canadian television advertisements to gain insight into the production of cultural schemas and the reproduction of beliefs about gender and motherhood. Employing an inductive qualitative analysis of portrayals of mothers and women who are not depicted as mothers, we find that the defining feature of mothers' consumption is a unidimensional depiction of control and caring for others, presented as self-evidently gratifying and fulfilling, in the absence of competing consumption goals. Mothers' identity emerges solely from successful consumer choices that benefit others. Such unidimensional representations of consumption stand in contrast to the consumption of women who are not depicted as mothers, who are found to engage in hyperbolic and indulgent consumption targeted towards self-gratification. We thus provide novel empirical data which show that depictions of consumption in mothers and in women not depicted as mothers are extreme in nature. Our findings provide support for, and elaborate on, the concept of ‘caring consumption’ by helping to make sense of media representations appearing within the conjunction of the contemporary marketing context of hyperconsumption, and the parenting/gender context of intensive mothering. By examining extreme consumption in television advertisements, we gain insight into features of maternal consumption ideals that may not be observable in everyday instantiations, such as the lack of mothers' consumption for self-benefit.     

‘Labour and new social movements in a globalising world system’: the future of the past

A new set of questions [is] being created by a changing present. Questions about who constitutes the working class, about how fragmented and divided groups of workers have organised, issues about workplace and community and the democratisation of unions and state policies are assuming centre stage. As the contours of the present shift, it is becoming possible to look back from new perspectives.1 Rowbotham, ‘New Entry Points,’ 68.      

Elizabeth and Her Mountain Garden

Abstract

In this essay the author suggests that Elizabeth von Arnim’s anonymous novel In the Mountains (1920) can be regarded as a modernist work, and is best understood in this context. The author indicates why von Arnim was intellectually and spiritually ready to develop her writing along these lines in the post-First World War era. This novel, like von Arnim’s early works—Elizabeth and Her German Garden (1898) and The Solitary Summer (1899 Arnim, Elizabeth von (1899), The Solitary Summer, London: Macmillan. [Google Scholar])—is written in the form of a journal; the title, also like those of her early works, points to a symbolic setting derived from nature. However, the narrator of In the Mountains no longer appears as ‘Elizabeth’, but remains mysteriously and completely anonymous. This device, together with von Arnim’s stylistically innovative use of structures and motifs derived from nature and music, as well as her manipulation of time, perception and memory, demonstrates her unique approach to modern writing in this novel, inviting comparison with contemporary works by Virginia Woolf and Katherine Mansfield.