‘The <Emphasis Type="Italic">Purdahnashin</Emphasis> in Her Setting’: Colonial Modernity and the <Emphasis Type="Italic">Zenana</Emphasis> in Cornelia Sorabji's Memoirs

This article focuses on two memoirs written by Cornelia Sorabji in the 1930s – India Calling (1934), and a subsequent book, India Recalled (1936) – in order to explore how discourses of space and place shaped the representations of femininity which structure these texts. Specifically, I will examine Sorabji's apprehensions of femininity in relation to the Muslim and Hindu women she viewed as her legal ‘clients.’ I am equally interested in these texts as evidence of how memory works as a practice of history – how events as they were recalled and recorded in the volatile 1930s and, especially in the wake of the Katherine Mayo controversy, how they helped shape the versions of the respectable feminine produced in her public writing of the period.     

dementia,care and time in post-war Japan: <Emphasis Type="Italic">The Twilight Years,Memories of Tomorrow</Emphasis> and <Emphasis Type="Italic">Pecoross’ Mother and Her Days</Emphasis>

As the number of people affected by dementia increases rapidly, dementia has been transformed into an epidemic which endangers global health and wealth, and many populations are now living in what Jain terms a time of prognosis, in fear of the disease. Through its strong association with ageing and memory loss, dementia is conceived of as a linear decline into loss of self and death, and those with dementia as other. More significantly, imagined as a threat that signifies both a loss of able-bodied workforce and a large population dependent on care and support, dementia inevitably feeds into the ‘crisis-of-care’ narrative that is prominent in many ageing societies. With one of the fastest ageing populations in the world, and an extremely low birth rate, the dementia prognosis is particularly acute in Japan and dementia is strongly linked to the idea of a ‘care crisis’. This situation has produced an increasing number of cultural representations of dementia and care and this paper considers three of these cultural texts, all rooted in the historical and cultural contexts in which they were produced: the novel The Twilight Years; the film Memories of Tomorrow; and the comic book Pecoross’ Mother and Her Days. The analysis concentrates upon their representations of care, seeing this as a space where the ethical relationship between self and other can be negotiated and where time with dementia can be imagined and re-imagined. The analysis of these texts from a feminist ethics perspective demonstrates the potential of popular and creative representations to interrogate and potentially expand the meanings of dementia, ageing and living in prognosis.     

Recognising Family Diversity: the ‘Boundaries’ of <Emphasis Type="Italic">RE G</Emphasis>

In Re G, the Court of Appeal awarded a joint residence order to the appellant, who was the lesbian ex-partner of the child’s full biological mother. The award also indirectly vested the appellant, a social parent, with parental responsibility and extended a body of case law to same-sex couples, which had until now only been applied to heterosexual couples. The initial purpose of this note is to outline the legal issues of the case in the context of the framework of parental responsibility set out in the Children Act 1989, putting forward a test of ‘parental fitness’ (which focuses on active ‘care’ as its central consideration) for social parents who must appeal to the court’s discretion to obtain parental responsibility. Secondly, the note offers at once a positive reading of Re G while highlighting a number of reservations centring upon continued legal preference for the ‘sexual family’. It is argued that while the legal recognition of ‘family diversity’ and parenthood remains modelled on this ‘sexual family’, the relaxation of family ‘boundaries’ (despite legal victories such as Re G) will remain limited. Re G (Children) [2005] E.W.C.A. (Civ.) 462     

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.     

‘these things not marked on paper’: creolisation,affect and tomboyism in Joan Anim-Addo's <Emphasis Type="Italic">Janie,Cricketing Lady</Emphasis> and Margaret Cezair-Thompson's <Emphasis Type="Italic">The Pirate's Daughter</Emphasis>

This article will look closely at the performance of tomboy identity in Joan Anim-Addo's collection of poetry Janie, Cricketing Lady, written as a tribute to her mother Jane Joseph, and Margaret Cezair-Thompson's novel The Pirate's Daughter, a fiction about Errol Flynn's ‘outside’ Jamaican daughter, May. It will argue that the ongoing affects of colonialism and patriarchy in the islands of Grenada and Jamaica, respectively, shape the life narratives of Janie and May who express their anger, shame, fear, frustration and desire through their ambiguous gender identity and through their determination to intervene in masculinist traditions, such as cricket, piracy and adventure, traditions that underpin Caribbean his/tories. To understand the way in which affect can be expressed through tomboyism in Caribbean societies, it is necessary to look at colour and class alongside gender in the context of Caribbean creolisation.     

‘Precari su Marte’: an experiment in activism against <Emphasis Type="Italic">precarity</Emphasis>

Published to coincide with the quincentennial celebrations of Columbus's ‘discovery’ of the New World, the Native American writer Leslie Marmon Silko's apocalyptic 1991 novel, Almanac of the Dead, is a harsh indictment of five hundred years of colonialism, racism and genocide in the New World. Silko clearly links this inhuman(e) history to the contemporary social policies of a range of nation states within the Americas, to present a variety of political issues that are of crucial significance to contemporary tribal communities and other multi-national disenfranchised groups. Among others, this includes the significance of gender to constructions of American settlement and Federal-Indian relations, and to Silko's own status, and choice of literary topics, as a female (and Native) writer. This essay analyses Silko's disruption of authorized and sanitized state narratives, and of accepted (and acceptable) narratives of settlement; and considers Silko's use of the almanac form – the codex – of the pre-contact Aztec and Mayan libraries as a means to assert indigenous literacy, and to challenge the Euro-American claims to ‘civilization’ that are the basis for New World settlement. Most significantly, as its title suggests, Almanac of the Dead emphasizes the presence of the dead, both indigenous peoples and African slaves, to expose the real costs of settlement, and to actively un-settle the Euro-American reader. Consequently, Almanac of the Dead presents the powerful alternative histories of a range of dispossessed social and ethnic groups throughout the Americas, while relocating and reconsidering the US within the context of the Americas as a continental and historical whole, and emphasizing the positive potential of political activism.     

“It’s New But Not <Emphasis Type="Italic">That</Emphasis> New”: On the Continued Use of Old Marx

This essay reviews Skeggs’ and Wilson’s papers in this issue of Feminist Legal Studies in terms of their development of, and departure from, ideas central to the Italian post-Marxist, post-workerist tradition; specifically their understanding that capital is increasingly converging with the production and reproduction of social life itself. I interrogate the assumed necessity to move beyond ‘the limitations of Marx’ by revealing, via the Communist Manifesto, Grundrisse and Capital, how the ideas of ‘old’ Marx can offer important engagements and interlocutions with the ‘new’ empirical phenomena explored by Skeggs and Wilson. I show how Marx’s notion of creative destruction is in tune with Wilson’s work on the erotic generativity of capitalism, and how his observations on labour-time as the measure of value illuminate the exchange and circulation of Wife Swap. Finally, I suggest that we might be wary not to lose sight of the question of resistance by regarding immaterial labour as productive labour, and thus relinquishing Marx’s conceptual tools of labour, value and capital.     

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.     

‘she found a way,left the child’: ‘child-shifting’ as the plantation's affects and love's paradox in Donna Hemans’ <Emphasis Type="Italic">River Woman</Emphasis>

This article proposes a situated reading of maternal love, loss and lovelessness in Donna Hemans’ novel River Woman, locating her text in relation to other contemporary Caribbean women writers and to the early fiction of Toni Morrison. I argue that the complex affects that her representation of ‘child-shifting’ produces, can be articulated both in relation to literary texts that re-imagine historical and contemporary practices leaving a child in order to save her, and in the context of the plantation, where ruptured ties at the level of community and culture continue to be reproduced in the personal, emotional and family spheres. I use the concept of marronage, developed in the work of Glissant and Depestre, to define strategies of survival that necessitated actual and imaginative flight or escape, to contextualise the complex affects of the plantation that are repeated and reproduced in the novel's present—the late twentieth-century Caribbean.     

“It Must Be <Emphasis Type="Italic">Me</Emphasis>”: Ethnic Diversity and Attributions for Peer Victimization in Middle School

This study examined the mediating role of self-blaming attributions on peer victimization-maladjustment relations in middle school and the moderating role of classroom ethnic diversity. Latino and African American 6th grade participants (N = 1105, 56% female) were recruited from middle schools in which they were either members of the numerical majority ethnic group, the numerical minority, or one of several ethnic groups in ethnically diverse schools. Peer nomination data were gathered in the Fall of 6th grade to determine which students had reputations as victims of harassment and self-report data on self-blame for peer harassment and the adjustment outcomes of depressive symptoms and feelings of self-worth were gathered in the Spring of 6th grade, approximately 6 months later. A mediational model in which self-blame partly explained the relation between victimization and maladjustment was supported among students from the majority ethnic group in their classroom but not among students from the minority group. The usefulness of including ethnic diversity as an important context variable in studies of peer victimization during early adolescence was discussed.

‘Women are trouble,did you know that Fergus?’: Neil Jordan's <Emphasis Type="Italic">The Crying Game</Emphasis>

The subject of this article is Neil Jordan's film The Crying Game. Released in 1992, it was widely received as a film that challenged stereotypes in relation to both the IRA and questions of race, sexuality and desire. This article calls into question such a radical reading by analysing the way in which Jude the IRA woman is represented. Through a feminist deconstruction, the article proposes that the character of Jude can be seen to represent both national and international anxieties concerning contemporary masculine and feminine subject positions. The article plots this by investigating how the film deals with the specifics of gender and Irish nationalism. It then moves on to consider how these specifics can be seen to articulate international postmodern concerns about contemporary gender identities.     

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.