Women and Mental Health A Feminist Review

This article contextualizes some of the more specifically focused articles in this Special Issue of ‘Women and Mental Health’ by reviewing general historical and political currents structuring contemporary discussions around questions of models, treatment and provision for women within British mental health services. We highlight some particularities of the current British context (in relation to other national scenes) in terms of the forms and expressions of feminist activity around mental or emotional distress. While not absolute mirrors of each other, resonances between general trends in feminist debates and organizational forms within feminist mental health work give rise to a wide spectrum of sites of intervention. We discuss some of the conditions that gave rise to these forms of (visible) feminist intervention within mental health service provision, focusing particularly on women's counselling and therapy services, and we offer an analysis of the range and conceptual tensions within which such interventions may be situated, including contested perspectives on power and empowerment. We also consider ways in which women's political activity around mental health issues is likely not to be noticed as such, given women's prototypical positions as patients and practitioners. We end by identifying what we see as current challenges for feminist activism around distress and its links with the conditions of women's lives and oppression more generally, not only as instances of more general tensions and challenges within contemporary feminisms, but also as offering an arena of opportunity for broader alliance and coalition-building.     

An Interview with Ahlam Mosteghanemi

Ahlam Mosteghanemi was the first Algerian woman writer to publish a novel in the Arabic language. Her work is therefore very significant in the context of Arab women's writing and feminism. Her novels express a unique understanding of social and political events, and convey the impact of these events on individuals by combining love stories with political and social history, fused together in present time. The interview examines Ahlam Mosteghanemi's novels and the impact of colonization and post-colonization on Mosteghanemi, her writing, Algeria and the Algerian people. Mosteghanemi's decision to write in Arabic and the themes of her novels are directly informed by the Algerian war of independence and as such can be seen both as a statement of independence from the Eurocentric homogenization of language and discourse, and as a feminist political statement. The interview seeks to deconstruct the widespread image of feminist literature as a genre that attempts to explore the female experience through an unnuanced binary focus on the opposition between the male and female within a patriarchal society. The interview pays particular attention to the rich symbolism of Mosteghanemi's novels. Even in the English translation there is a strong sense of the historical and geographical reality of Algeria, an ancient country repeatedly invaded by colonizing forces, and struggling again in the modern world to establish an independent identity. The interview looks at some of the significant themes raised by Mosteghanemi in her novels. In addition to this, the interview pays particular attention to the issue of translation in Mosteghanemi's novels and to her attitudes towards her readership.     

Laughing Medusa: Feminist Intellectuals at the Millennium

The role of the intellectual is traditionally gendered masculine, and women are excluded from consideration. Contemporary discussions of the 'death of the intellectual' noticeably make no reference to feminist intellectuals. On the other hand, women in academia have been reluctant to adopt the role of public intellectual as conventionally defined. There is an anxiety about the contemporary place of the intellectual, and about the necessity for the distinction made by some feminists between theory and practice, the intellectual and the activist, and where this might lead. In exploring the role of feminist intellectuals over the last two centuries, three paradigms of the feminist intellectual are proposed for consideration: Cassandra (the prophetess cursed with disbelief), for example Florence Nightingale; the feminist Messiah (the exceptional female saviour who would sacrifice herself to change women's lives), for whom the exemplar is Margaret Fuller; and the Dark Lady (the token woman in a community of men), such as de Beauvoir, Mary McCarthy and Susan Sontag. Indeed, Camille Paglia's rivalry with Sontag lends itself to being interpreted as evidence of her current desire to occupy this 'dark lady' role. In conclusion, after discussing contemporary, late twentieth-century feminism (Natasha Walter, Elizabeth Wurtzel, gurrl power, 'women behaving badly'), the role of Margaret Thatcher in changing perceptions of women's capacity for political power is proposed for celebration. Finally, there is Cixous's image of the feminist intellectual as the laughing Medusa, who turns men to stone, but turns laughter on herself.     

Women and War

Susan Hill's novel The Woman in Black (1983) is a radical example of women's Gothic horror. It is a popular ghost story that has been successfully adapted for the London stage. In addition, it offers a social critique of motherhood and contemporary rhetoric surrounding the family. Scullion interprets the novel from several critical perspectives: feminist, psychological, biographical, generic and intertextual. Principally, however, she offers a reading of the novel that engages with its immediate historical context. The contention is that Hill's novel mediates women's anxieties about motherhood and autonomy during the early 1980s when the institution of the family in Britain was an ideological battleground. Set primarily during the 1860s, The Woman in Black exposes Victorian hypocrisy towards the unmarried mother, and indirectly probes the quasi-Victorian values promulgated in the 1980s, during the first term of a Conservative right-wing government. The protagonist of the novel, the eponymous woman in black, resists the lot of the so-called fallen woman. In her physical form, she refuses to submit to Victorian patriarchal values by attempting to reclaim her illegitimate child. In spectral form, she repeatedly inflicts suffering on families by causing the death of their children. Her excessive revenge knows no compassion, and recognizes no boundaries of place and time. Her ghost is never laid to rest. Neither is order restored by the closing pages. Thus the novel, as well as being a popular ghost story, challenges assumptions about women's 'natural' acquiescence and their unconditionally generous responses to husbands, partners and children. Shaped by the social climate in which it was written, The Woman in Black suggests that mothers under extreme pressure have the potential, like any other members of the family, for cruelty to children. Through its forceful rejection of either idealized or derogatory stereotypes of women, this novel belongs to the genre of radical Gothic horror.     

Cindy Sherman in a New Millennium: Fashion,Feminism, Art and Ageing

ABSTRACT

If feminism and the fashion industry were once seen as adversaries, given how the strictures of Simone de Beauvoir in The Second Sex (1949) permeated so much of second wave feminism, a consideration of ‘fashion’ is now central to contemporary feminist scholarship. But just as the earlier critique of fashion seemed finally to have been supplanted, certain basic arguments around dress and makeup nevertheless resurfaced within contemporary feminism. The current neoliberal climate has led to the ever-increasing consumption of ‘fashionable’ goods, provoking unease and encouraging the contested ‘protectionist discourse’ within feminism to shield young women from just such excesses. Meanwhile, the fashion world itself, arguably more powerful than ever, has across the last twenty years continued a process of legitimising itself through its various modes of alliance with the art world; it has even hijacked elements of feminist practice in the pursuit of publicity. This article suggests that the fashion industry and contemporary feminism are nonetheless alike in one significant respect: neither have properly engaged with the needs of an ageing population. It is an omission that this article will seek to examine through a discussion of the recent ‘portraits‘ of Cindy Sherman, an artist of great interest to feminist scholars, in whose earlier work there was a discernible ‘anti-fashion’ element. Now ‘fashionable’ herself, a leading figure in the global art world, she has collaborated with the fashion industry in rather different ways. Her ‘portraits’ of 2012, in which she reconfigured herself as imaginary Manhattan socialites in or beyond middle age, and a later series, exhibited in 2016, where she appears as a series of ageing, anonymous ‘movie stars’, reveal more general ideological tensions surrounding the representation of women, the ageing process and the fashionable ideal. It is the dissection of these tensions that underpin this article, for while Sherman’s work has been the subject of academic debate across a forty year period, her use and critique of the ‘fashionable ‘ image has not been examined alongside an exploration of the expanding activities of the fashion industry itself; nor have her recent images of ageing women been examined within this more general context.     

Global feminisms,c. 1870–1930: vocabularies and concepts—a comparative approach

This ‘Viewpoint’ assesses some recent approaches to the study of feminisms across the globe during the c. 1870–1930 period. At a moment when historians are working towards the commemoration of women's partial enfranchisement in Britain in 1918, we consider the intellectual frameworks that most effectively celebrate this achievement whilst also situating the Act within its complex, global context. Reflecting on discussions held at a recent workshop at the University of Oxford, we advocate the effectiveness of a global and comparative methodological approach to question what ‘feminism’ meant to contemporary campaigners. The scrutiny of localised and national issues within comparative and global contexts illuminates the plurality of definitions, vocabularies, and categories relating to feminism that were being used (and rejected) during this era and raises broader questions for the study and practice of feminist history.     

Nothing wasted: engaging values and the imagination. How can working with feminist speculative fictions enthuse and engage students with social justice and sustainability in an age of austerity?

In the context of contemporary higher education, post white paper, ‘Students at the heart of the system’ [BIS, 2011. Students at the heart of the system [online]. Available from: https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/31384/11-944-higher-education-students-at-heart-of-system.pdf, (Accessed 5 Feb 2014), in which funding and commodification of learning and of students dominate university mission statements and agendas, it is crucial that we collaborate with our students to engage imagination and critical faculties with issues of value, and of social justice. Teaching and researching contemporary feminist speculative fictions and feminist critical practice offer a priceless opportunity to make a difference, to challenge the intellectual impoverishment that this new austerity brings with it. Learning and teaching research into threshold concepts and signature pedagogies combine here with feminist critical practice in a discussion of teaching two speculative fictions which engage criticality and values: Atwood [Atwood, 2003. Oryx and Crake. New York: Nan A. Talese.) and Hopkinson [Hopkinson, 1996. A habit of waste. Skin folk. New York: Aspect, 183–202] each of which critiques flawed societies using tropes of waste, and rejection of difference. Each suggests recovery from damage done in the name of austerity, and imagines futures for the critical imagination, social justice, self-worth and agency.     

Feminist utopias and questions of liberty: Margaret Atwood's The Handmaid's Tale as critique of second wave feminism

Taking her cue from the recent Cindy Sherman exhibition at Metro Pictures, New York, 'New Photographic Work 2000', Meagher considers the ways in which feminist art critics have analysed Sherman's work since it was first 'discovered' by Douglas Crimp in 1979. Her claim is that analyses of Sherman's work are involved in a debate about whether the images are useful or destructive to feminist politics. More importantly, what has come to be known as Sherman Studies places an emphasis not upon Sherman's art, but rather upon the identify of the artist. Instead of enquiring into the political status of the art works (are they feminist?), critics often end up asking after the political status of the artist herself (is she feminist?). Meagher's essay is in four sections: 'Encounters' traces the critical reaction to Sherman's work; 'In or Out of the Picture' considers the critical tendency to impose a narrative upon the work and the simultaneous insistence that this narrative is informed by the artist's feminist intent; 'New Photographic Work 2000' looks at the most recent reactions to Sherman'swork and prepares for the final section, 'Feminist Occasions', in which Meagher draws upon Nancy Miller and considers the relationship between feminist critics and their resistant celebrity.     

Oprah Winfrey and the co-production of market and morality

This essay introduces the dossier, situating Lizzie Borden's 1983 film Born in Flames in the contemporary political context. After offering a brief synopsis of the film, the essay argues that Born in Flames serves as both a document of feminist, anti-racist social movements and as inspiration for modeling future political work. The essay then briefly introduces the pieces that comprise the dossier.     

“Norwegian Women Got Gender Equality Through Their Mothers' Milk,But Anti-racism Is Another Story”—An Analysis of Power and Resistance in Norwegian Feminist Discourse

This article seeks to explore majority feminists' difficulties in addressing minority women activists' claims in contemporary Norway. The article identifies different representations of feminism in the Norwegian women's movement. Findings indicate that minority women are excluded in the hegemonic representation of feminism by being defined as “different” and not included in this understanding of “women”. Inspired by discourse analysis, intersectionality, and perspectives from black and post-colonial feminist theory, the article argues that the hegemonic representation of feminism is so persistent because it resonates with dominant representations of “Norwegianness”, racism, integration, and gender equality. Within the hegemonic representation of feminism, the asymmetrical relationship between “immigrant women” and “Norwegian women” is unreflected, and racial horizons of understanding (race thinking) are not acknowledged. Racism is not considered to be a relevant issue in the Norwegian context and is thus silenced. The article also identifies counter-hegemonic representations that challenge the hegemonic understanding; however, these understandings are still marginal within feminist discourse in Norway.     

Women's Studies: Between a Rock and a Hard Place or Just Another Cell in the Beehive?

The article traces the history of Women's Studies from its beginnings as the ‘intellectual arm of the women's movement’. It argues that the complex story of Women's Studies has been marked by both ambiguity and uncertainty as well as sustained political commitment in the face of both institutional opposition and feminist ambivalence about Women's Studies as a field of scholarship. The development of Women's Studies occurs through crucial shifts in the theoretical paradigms of feminism and the political preoccupations of the women's movement. These shifts have both deconstructed the founding premises of feminist theory and generated a greater depth to feminist thinking and research. These challenges to Women's Studies have paralleled a different set of problems arising from the increasingly market-oriented direction pursued throughout the tertiary education sector. In spite of these difficulties Women's Studies continues to survive and constitutes an important and contested site of contemporary feminist thought.     

Ouch! Western Feminists' ‘Wounded Attachment’ to the ‘Third World Prostitute’

‘Trafficking in women’ has, in recent years, been the subject of intense feminist debate. This article analyses the position of the Coalition Against Trafficking in Women (CATW) and the writings of its founder, Kathleen Barry. It suggests that CATW's construction of ‘third world prostitutes’ is part of a wider western feminist impulse to construct a damaged ‘other’ as justification for its own interventionist impulses. The central argument of this article is that the ‘injured body’ of the ‘third world trafficking victim’ in international feminist debates around trafficking in women serves as a powerful metaphor for advancing certain feminist interests, which cannot be assumed to be those of third world sex workers themselves. This argument is advanced through a comparison of Victorian feminist campaigns against prostitution in India with contemporary feminist campaigns against trafficking.The term ‘injured identity’ is drawn from Wendy Brown's (1995) States of Injury, Power and Freedom in Late Modernity. Brown argues that certain groups have con.gured their claims to inclusion in the liberal state in terms of ‘historical ‘injuries’. Antoinette Burton (1998) extends Brown's analysis to look at Victorian feminists’ relationship to Empire, arguing that the ‘injured identities’ of colonial ‘others’ were central to feminist efforts to mark out their own role in Empire. This paper builds on Burton's analysis, asking what role the ‘injured identities’ of third world sex workers play in the construction of certain contemporary feminist identities. The notion of ‘injured identities’ offers a provocative way to begin to examine how CATW feminists position the ‘traficking victim’ in their discourse. If ‘injured identity’ is a constituent element of late modern subject formation, this may help explain why CATW and Barry rely so heavily on the ‘suffering’ of ‘third world traficking victims’ in their discourses of women's subjugation. It also raises questions about the possible repressive consequences of CATW's efforts to combat ‘traficking in women’ through ‘protective’ legislation.     

Inventive Feminist Theory: Representation,Materiality and Intensive Time

Abstract

This article examines key arguments on the relations between bodies and images developed in the context of the discursive turn to consider what light a feminist materialist approach might shed on them. Rather than set the discursive and materialist ‘turns’ in opposition to each other, the author tries to draw connections between different theories of the relations between bodies and images, and unpack how certain feminist concerns are approached from different angles in different historical and intellectual contexts. To do this, the author focuses on the prevalence of images of transformation in contemporary visual culture and analyses them in terms of how both ‘new materialist’ and feminist theories grapple with the worlds they engage with, where change and transformation are seen as key. The author takes up three specific and related points that are currently being debated in feminist materialisms: (1) the concept of representation and, more widely, representational thinking; (2) the concept of causation and an understanding of time as non-linear, intensive and inventive; and (3) the understanding of theory as immanent and inventive. Drawing on insights developed in both the discursive and materialist ‘turns’, the author focuses on how bodies and images are entangled together as material assemblages and, in Barad's terms, how theories are performative of the phenomena they seek to understand. The article concludes by suggesting that such an understanding of theory as inventive might be a way of continuing to ensure the animation of feminism's transformative nature.     

‘Quite the opposite of a feminist’: Phyllis McGinley,Betty Friedan and discourses of gender in mid-century American culture

This article examines the relationship between feminist and anti-feminist discourses in the period between World War II and the publication of Betty Friedan's The Feminine Mystique (1963). It takes as its primary focus the work of Pulitzer Prize-winning ‘housewife poet’ and self-proclaimed anti-feminist, Phyllis McGinley. McGinley was a successful poet who has disappeared from the record since the publication in 1964 of Sixpence in her Shoe—her best-selling retort to The Feminine Mystique. Her example is important because it gives voice to the much-maligned suburban housewife and offers a spirited alternative to Friedan's reading of white, middle-class domesticity as always and inevitably oppressive. The article offers a close reading of McGinley's work and situates it in relation to its historical and cultural contexts (specifically the highly charged domain of suburban domesticity) and to its wider readership. It compares her anti-feminism with that of other anti-feminist writers of the period, thereby illuminating the tensions and contradictions in contemporary debates.     

‘A crisis in woman's history’: Frances power cobbe's duties of women and the practice of everyday feminism

The article explores the ways in which Cobbe's Duties of Women grapples with new challenges facing the late nineteenth-century feminist movement, with an emphasis on the particular force of Cobbe's text that results from her unique role as a mainstream journalist of mid-Victorian feminism to non-feminist-identified audiences. It argues that Duties of Women participates in the ongoing negotiation of the representation of suffrage, both within feminist communities and in the ways that feminism is represented and understood by a non-feminist public. Specifically, the author argues that Cobbe's lecture series and book are generically linked to the conduct book. They offer advice for the appropriate daily practice of emancipated womanhood at a time when significant changes in feminist practice, such as the increasing emphasis on suffrage, threatened, in Cobbe's view, the larger public perception of that movement.     

‘Not Simple,Not Pure’: Revisioning of Mythical Wicked Women in the Stories of Sara Maitland

The British novelist, feminist and religious thinker Sara Maitland (b.1950) is renowned for her short stories, many of which involve the rewriting of fairy tale and classical and biblical myth. This article situates Maitland's retellings within the contemporary feminist tradition of literary revisioning, but emphasises that her retelling of old tales is distinguished by a deep—and often discomforting—engagement with questions of morality. This is rooted in Maitland's political commitment and Christian faith, and is particularly evident in her treatment of mythical female evil. Her short stories take a morally ambiguous approach, paying attention to the moral and psychological complexities of the wicked stepmothers in fairy tale, gorgons and child-killers of classical myth, and temptresses of the Hebrew Bible. Maitland's feminist revisioning of mythical wicked women does not flinch from their darkness, or impose simple ethical lessons, but at the same time she is (sometimes horribly) aware of their moral significance. This article examines the portrayal of feminist theology's concept of the ‘female sin’ of passivity in Maitland's revisioning of Delilah (in Daughter of Jerusalem, 1978) and ‘Helen of Troy's Aerobics Class’ (in On Becoming A Fairy Godmother, 2003); how the crimes of mythical wicked women are retold as being motivated by revenge against men in ‘Deborah and Jael’ (Daughter of Jerusalem), ‘Siren Song’ and ‘The Swallow and the Nightingale’ (Far North and Other Dark Tales, 2008). The latter of these raises issues of women's conflicting loyalties, which is also considered in ‘The Swans’ (2008). The taboos of incest and child abuse are explored powerfully and sensitively in ‘Jocasta’ (2003) and ‘The Wicked Stepmother's Lament’ (A Book of Spells, 1987), and resistance to simplistic moralising is encapsulated in the story of a menopausal Eve, in ‘Choosing Paradise’ (2003).     

Politics Materialized: Rethinking the Materiality of Feminist Political Action through Epigenetics

The ‘new’ of new materialism should not be read as current feminism's distancing from or disavowal of the legacy of previous feminist movements. This past cannot be left behind as it is enfolded—both conceptually and materially—and reconfigured as feminism's current theorizing and political action. This article argues that this cultural inheritance is at the same time corporeally manifested in the biology of feminist bodies. Such a contention is inspired by Karen Barad's argument that concepts, ideas and other social phenomena are specific physical arrangements materialized through apparatuses. Barad insists that the relationships between the social, political and discursive and physical matter are not relations of externality. Instead, there is a complex entanglement where the differences between the cultural and the physical are matters of making separate rather than there being two radically separate realms. Barad's claims are supported by epigenetic research into the intergenerational health effects of the experience of social stigma. The results of this research suggest that an individual's environment, both physical and social, current and historical, manifests in biology at the molecular level. So politics, then, is a truly material practice which is at the same time constitutive of its practitioners. New materialism's history of feminist action and theorization can never be excluded from current practices of feminism but neither can it determine them in advance. Politics and feminism are particular, contingent, material histories, with each practitioner reconfiguring her or his specific biological and social materialization as their present-day political and feminist actions.     

feminism and futurity: revisiting Marge Piercy’s <Emphasis Type="Italic">Woman on the Edge of Time</Emphasis>

This article considers the question of feminist futurity through Marge Piercy’s Woman on the Edge of Time (1976). While dominant readings of this novel have focused on its relationship to the feminist utopian genre and feminist theory from the 1970s, this essay aims to critically reframe the novel through contemporary feminist theorising on time and futurity. Drawing on recent feminist and queer theory that suggests that the future might most productively be figured through more nuanced and renewed engagements with the past, I argue that readings of Piercy’s novel that frame it only through its contemporary moment obscure the novel’s critique of singular, linear models of time. The novel represents the future through the themes of loss, mourning and haunting, which I argue resist a model of time that moves linearly from past to future and instead bring the past and future into complex relation with each other. In this regard, Piercy’s novel is read as representing a form of feminist futurity that engages with progress in time as necessarily uneven, discontinuous and fractured, speaking to contemporary demands for a feminist futurity that might require more nuanced accounts of the past.