A heroic male and a beautiful woman. Teemu Mäki,Orlan and the ambivalence of the grotesque body

In this article two performances are analysed, Finnish artist Teemu Mäki's video performance The Good Friday (1989) and French artist Orlan's performance of metamorphosis The Re-incarnation of Saint Orlan or Image(s)/New Image(s) . The concept of heroic masculinity is problematized through Mäki's masochistic performance. Orlan undergoes cosmetic surgery in the name of art. Her performances are treated as a cultural statement about gender and as a visualization of the contemporary, commercial ideals of female beauty. This interpretation is framed by the art theoretical concept of the grotesque. In the article the grotesque is approached through the works of Mikhail Bakhtin, Wolfgang Kayser and feminist appropriations of them by Mary Russo and Rosemarie Garland Thomson. Through these works the grotesque is defined as a concept by which phenomena are described in a state of transformation, a state in which they no longer fit into any fixed category. The ambivalence of the performances is stressed in this analysis. The grotesque is defined as a thoroughly political term. The politics of the grotesque is such that the term can be used to indicate that phenomena - bodies, genders and sexualities - are not as natural and self-evident as we would often like to think.     

Barbara Leigh Smith Bodichon's Travel Letters: performative identity-formation in epistolary narratives

Barbara Leigh Smith Bodichon was a mid-nineteenth-century feminist, philanthropist and painter. This article examines Bodichon the female traveller as a way of discussing the process of identity-formation in letter-writing. It proposes reading letters through the lens of Judith Butler's theory of gender (1990). Following her concept of performativity, letter-writing is conceived as a performative act of identity-formation. The article argues that, conditioned by the addressee she wrote to, Bodichon gave written expression to her subjectivity in her travel letters via her epistolary persona. This autobiographical gesture acted as one means through which she constituted her identity as a female traveller. In turn, drawing on Butler's notion of subversive repetition, the article concludes that the resulting multiple epistolary ‘I's Bodichon developed in accordance with each of her addressees permitted her to venture into her subjectivity as a female traveller—ultimately prompting her epistolary challenge of normative codes.     

Fashionable ‘Formation’: Reclaiming the Sartorial Politics of Josephine Baker

ABSTRACT

This article historicises Josephine Baker’s use of fashion in terms of contemporary black stage performers, particularly Beyoncé Knowles-Carter’s evolving black feminist politics. It examines Beyoncé’s references to Baker as an inspiration for her own black feminist art and argues that they offer an opportunity to re-examine Baker’s legacy in our own contemporary moment. Using Beyoncé’s arguments about Baker as a starting point, the article examines Baker’s fashions and costumes and argues that she used them to manipulate her relationship to the models of white supremacy that attempted to structure her identity and relationship to the public sphere. Using contemporary black feminist criticisms of respectability politics, it argues that Baker’s fashions produced a politics of disrespectability, where clothing and body worked together to carve out space for black feminist experimentation. By constantly changing the terms through which her audiences and the public read her, Baker carved out a subjective space where she could become in relation to her clothes without restraining herself to the identity categories normatively allotted to black women.     

She's old enough to be a beautiful young boy: Sarah Bernhardt,breeches roles and the poetics of aging

This essay argues that Sarah Bernhardt's choice to play young male roles late in her career served as a radically anti-agist feminist response to the limiting and often demeaning professional and social opportunities afforded aging women. While scholarship has attended to Bernhardt's cross-dress roles through the lens of gender, this essay highlights her “breeches” roles, in particular Hamlet and L’Aiglon as cross-age and cross-gender. By examining “aging” as the contextual mode by which gender functioned, we open up new terrain with which to examine and appreciate Bernhardt's significance in the scope of theatre history, women's history and aging studies. In the title roles of Hamlet and L’Aiglon, Berhnardt assumed youth and male-ness on stage, which both highlighted her offstage socially perceived deficits (aged and female) and challenged the designation of those identities as deficient; performance threw into flux what had been assumed static. And the public responded. Far from honoring the assumed cultural hetero-normative contract that aging women acquiesce public visibility, Bernhardt's breeches roles (re)constructed her body as female (from aging/sexless) and demanded audience members’, male and female, desiring gaze.     

Results of a misspent youth: Joan Jett's performance of female masculinity

The article maps Joan Jett's performances from her days with the Runaways in the mid-1970s through her successful solo career in the 1980s to her recent affiliations with the riot grrrls in the 1990s. Unlike some critics, who, while acknowledging Jett's influence on generations of female rock performers, dismiss Jett as an inferior copy of male rock musicians, the author argues that Jett's various performances of female masculinity challenged conventional understandings of masculinity and femininity. The article explores how Jett's interest in punk enabled her to carve a space for herself in a male-dominated genre. It is further contended that as more spaces opened for women in the early 1990s, Jett's performances took a more aggressive stance on traditionally feminist issues and enabled her to use her sexuality as an offensive weapon.     

American Dance Pioneer Martha Graham and the Ghosts of Feminism

Abstract: The essay explores the mutual haunting between American modern dance pioneer Martha Graham and feminism. This troubling arises from the confusion between what can be considered the predominantly feminist character of Graham's life and work coupled with Graham's outright rejection of a feminist consciousness. The author suggests that this ambivalent situation allows for an ever increasing complex but fruitful discussion of Graham's possible feminist identifications and their effects. The essay first argues for the performanative force of ‘doing’ a feminist identity as a foil for Graham's public written reputation of feminism. It then charts both the changing cultural and social beliefs of and about women in the twentieth century alongside Graham's specific geographical, social, cultural and historical placement in that history and its possible impact on her processes of identification. The essay then makes a close contextual reading of one of Graham's works of the early 1930s, Primitive Mysteries (1931), to illustrate its radical conception of the female body both at the time of its premiere and over subsequent reconstructions. The author finishes by arguing that the question of Graham's feminism is an important one because it remains unanswered.     

'Neither man nor woman'? Female Transvestism,Object Relations and Mourning in George Moore's 'Albert Nobbs'

Heilmann offers a psychoanalytic reading of Moore's narrative of cross-gender impersonation 'Albert Nobbs'. First published in A Story-Teller's Holiday (1918) and later transferred to Celibate Lives (1927), the story features a woman who passes herself off as a man, until a chance meeting with another male impersonator happily equipped with a wife galvanizes her desire for a companion. Her inability to reveal the secret of her body to her prospective bride, however, coupled with the marked absence of any expression of sexual passion, leads to the break-up of the relationship, and Albert dies, a loner hoarding money in order to sublimate her thwarted longing for love. In this text the no (wo)man's land of cross-gender masquerade operates as a psychological marker of Albert's social (hence internal) lack of identity. An illegitimate child brought up by a nurse, she never knew her parents, whose absent presence was embodied by an allowance discontinued after their death. Drawing on Kleinian object-relations theory, Heilmann argues that Albert's (mis)performance of 'manhood' constitutes a subliminal quest for her missing parents, a desire always frustrated and ultimately displaced into the hard currency of material commodities. If Moore's story represents the female tranvestite as a castrated, sexless and depressed 'perhapser', an 'outcast from both sexes', fatherless and yet forever locked into a male-authored, patronymic text, Simone Benmussa, who in 1977 adapted the story for the stage ( The Singular Life of Albert Nobbs ), offers a more subversive reading of the female cross-dresser as a 'figure that disrupts' (Marjorie Garber) cultural categories and binary oppositions. The article ends with a consideration of Benmussa's revisionary strategies.     

‘Womanish epistles?’ Martha McTier,female epistolarity and late eighteenth-century Irish radicalism

This article examines the epistolary practice of Martha McTier, the sister of the Ulster Presbyterian radical and founding member of the United Irishmen, William Drennan. Drawing on literary analyses of the eighteenth-century epistolary form and Jürgen Habermas's account of the development of the public sphere, it argues that through her personal correspondence McTier was able to construct herself as a political subject, engaging in the oppositional discourse of the radical public sphere. The public reputation which McTier earned as a letter-writer and the fact that her correspondence was subject to government surveillance in the build-up to the 1798 Irish rebellion challenges the designation of the female letter as an essentially private medium, concerned with the personal and domestic, and suggests a more fluid relationship between women, letter-writing and the public and private spheres     

Pomeroy v. Pomeroy: beauty,modernity, and the female entrepreneur in fin-de-siècle London

As a fictional personality trading as ‘Mrs Pomeroy’, Jeannette Scalé dominated London's elite beauty market through the late nineteenth century. By 1906, her control over the expansive commercial empire had collapsed, as new company owners publicly accused her of pecuniary ambitions unbefitting her sex. This article charts Scalé's extraordinary transformation into London's leading complexion specialist, exploring the gender conventions regulating both the beauty business and middle-class female enterprise at the fin de siècle. An investigation of the ‘Mrs Pomeroy’ character reveals businesswomen's changing opportunities in England's ‘modernizing’ retail market, opportunities engendered through new systems of advertising, growing anonymity in the expanding urban scene, and novel forms of self-representation that did not necessarily impinge upon businesswomen's respectability.     

The making of a modern female body: beauty, health and fitness in interwar Britain

In interwar Britain female athleticism, keep-fit classes and physical culture were celebrated as emblems of modernity, and women who cultivated their bodies in the pursuit of beauty, health and fitness represented civic virtue. This article argues that a modern, actively managed female body was part of women's liberation during this period. A modern female body required sex reform and birth control. Fitness culture was circumscribed by traditional notions of femininity. Women's competitive sport remained controversial and slimming in pursuit of fashion was widely condemned. Women from across the social spectrum embraced sport and joined fitness organizations. The rise of a modern female body contributed towards greater equality between the sexes. However, the gender order did not change fundamentally and the ideal woman of the interwar years was represented as a modern, emancipated race mother.     

Anxiety about Whiteness in Joyce Carol Oates's Novel Blonde

Since the beginning of the 1990s Joyce Carol Oates's fiction manifests increasing interest in the issues of race and ethnicity. Her novel Blonde (2000), a fictional depiction of Marilyn Monroe's life, reflects critically the construction of white self, and displays racialization as a complex dialogue between social practices and individual subject constitution. Inspired by critical whiteness studies and feminist theories of intersectionality, this article examines how Oates's novel represents effects of racialization to a white female identity and aims to decipher questions about power and discursive conceptions concerning ideas of race and gender. By giving emphasis to the concepts formation and interface in the US context and American literary tradition, the analysis shows how the construction of the protagonist's gendered and racialized identity is represented as a complex and anxiety-ridden negotiation. The representation of the protagonist's engagement with the white ideal highlights both her desires and anxieties about the idea of race. In so doing, Oates's novel elicits how racialization works both as defining and limiting to white female identity.     

Towards a Grotesque Phenomenology of Ethical Eroticism

Abstract: Over the course of this article, the author argues that ethics and the erotic are interrelated. The author also contends that the way subjectivities are constructed has a strong impact on the development of the ethical and the erotic character of these same subjectivities. Against this backdrop, the author postulates that envisioning or creating oneself as a grotesque subject promises to facilitate one's own development into a moral and erotic human being by triggering a process of inner estrangement that enables one to recognize the otherness within oneself. This analysis is based mainly on Mikhail Bakhtin's grotesque as presented in his Rabelais and His World (1965). This self-introspection serves as the basis for an ethical eroticism through which one shall transform oneself into a fully fledged moral and sensual subject. In formulating this argument, the author draws on Simone de Beauvoir's own attempt to link the erotic to the ethical. As will be seen, the same principle that stands at the heart of a phenomenological ethics also steers the author's phenomenological conception of the erotic. The principle in question is carnal intersubjectivity-bodies that penetrate one another and merge, yet never lose themselves in the other's carnality. Put differently, they remain non-objectified subjects. The grotesque subject is presented as a figuration that helps shed light on the way the subject has been conceived by, above all, phenomenological and postmodern theorists. The author then explores some of the ethical ramifications of this conceptualization. Drawing on these insights, the author fashions an ethical eroticism that derives from a grotesque subjectivity.     

‘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.     

'More Intimate Than Violence': Sexual Violation in Sarah Dunant's Transgressions

Horeck looks at what happens when a feminist author attempts to rewrite one of culture's most powerful narratives: the story of female victimization and male sexual violence. Exploring the controversy surrounding Sarah Dunant's 1997 thriller Transgressions , a novel accused of being 'anti-feminist' for its alleged depiction of female sexual arousal in a rape scene, she asks after feminism's fictional investment in images of rape. What kind of cultural work are images of sexual violence being made to perform for feminist crime writers? Her contention is that Dunant's novel exemplifies the purchase that rape holds for feminism as a scenario for working through questions of female agency and male-female sexual relations. Through her represenation of the female translator's attempt to rewrite a dominant cultural narrative of male brutality and female victimization, Dunant is thematizing the difficult work of the feminist crime writer. But while the novel's fictional representation of sex and violence can be read as an attempt to unsettle governing gender codes, Horeck argues that it also inadvertently shows up the limitations of the female crime writer's attempt to fight 'fantasy with fantasy'.     

Political Life in the Shadows: the post suffrage political career of S. Margery Fry (1874–1958)

Drawing upon research on the working life of the penal reformer and educationalist S. Margery Fry (1874–1958) and her role as a policy-maker, this article argues that there were alternative ways in which women could participate in post-suffrage political culture, other than through elected office or party politics. The article positions Margery Fry both as a feminist and a public intellectual and argues that the First World War and the granting of women's suffrage allowed a step change to take place in Fry's career, taking her from a regional political stage to a national and international one. It also contends that she was able to wield considerable power ‘in the shadows’ as a policy advisor.     

Women,Godliness and Personal Appearance in Seventeenth‐Century England 1

This article discusses Lady Jersey's brief sojourn in New South Wales in 1891-92, as the wife of the colonial governor. In the context of colonial anxieties and hopes about the contemporary women's movement, Lady Jersey's aristocratic confidence and imperial authority gave her the appearance of an ‘Advanced Woman’. A published writer and confident public speaker before she arrived in the colony, Lady Jersey took a keen interest in local political affairs, and her demeanour and activity were swiftly satirised in the radical nationalist and frequently misogynist Bulletin. Local feminist groups, perhaps craving some of the legitimate public authority she so readily exercised, sought her patronage and support but were generally doomed to disappointment. The article suggests that Lady Jersey, despite her own conservatism, offered an ambiguous role model for those seeking positive ways in which to imagine female power.     

Stevie Smith and Her Dancing Girls

Abstract

What constitutes a good Stevie Smith poem? The question bothered the author herself and it can bedevil the reader too, with evaluative quandaries often compounding interpretative ones. Smith's uncertainty about the relative merits of her poems informed publication decisions, and this in turn has resulted in certain compositions being overlooked in critical assessments of her achievement. This article takes as a test-case example a hitherto largely neglected poem, ‘The Ballet of the Twelve Dancing Princesses’, and through sustained close reading makes the case that the poem, unpublished in Smith's lifetime, may be one of her finest pieces. Through an analysis of the poem's cultural and historical context, its manifold ambiguities, its imagery and atmosphere, its coded engagement with the fabular and the strange effects achieved through rhythm and rhyme, the poem is shown to offer a complex, psychologically suggestive response to issues which exercise Smith in many of her poems, including the tension between innocence and knowledge, between the child and the adult, between the capricious and the calculated, and between the ‘frivolous’ and the ‘ominous’. The difficulty of determining how ironically and how seriously Smith engages with some of the latent preoccupations of her poem, such as the power of sorcery and the supernatural, the growth of sexual awareness in young girls and (possibly) the approach of the Second World War, is taken as symptomatic of the tendency of Smith's poems to at once invite and defy exegesis. Taken together, these various concerns and characteristics provide the grounds for considering one of Smith's overlooked poems as one of her most effective. Yet the conclusion seeks to complicate this assessment by cross-questioning the criteria by which Smith's ‘success’ as a poet may be determined.     

Hearts and Minds: War Neurosis and the Politics of Madness in Anna Kavan's I Am Lazarus

Abstract

Anna Kavan's fictional portrayals of psychiatric breakdown and its treatment provide a unique perspective on the patient's experience of early to mid twentieth-century psychiatry. This article looks in detail at Kavan's time working with soldiers suffering from effort syndrome during the Second World War, observing how the solider-psychiatric patient becomes a figurehead for her radical politics in her Horizon article ‘The Case of Bill Williams’ (1944), and a prominent protagonist in her stories. Through close reading of her correspondence, her journalism and her wartime stories collected in I Am Lazarus (1945), it examines how the intersection of psychological trauma and physiological symptoms characteristic of effort syndrome surfaces in Kavan's writing of this period and in her own psychic responses to the war. It observes the importance of figurative language to her portrayal of war trauma and psychological breakdown, as her characters embody metaphor in their psychosomatic symptoms, and explores a twisted reconception of mind–body dualism prevalent throughout her writing of this period. It goes on to examine how the peculiar interaction of the physical and the psychological extends to the relationship between Kavan's characters and their external environment in her Blitz stories. Against the backdrop of the war-torn city, mind and body engage in ongoing conflict, affect and emotion bleed into her physical landscapes, and everyday objects become animated and hostile towards her protagonists.     

Contesting Ideologies: Deconstructing Racism in African-American Fiction

Baillie's article is concerned with how African-American fiction seeks to define and shape an aesthetic in opposition to racial ideologies as diffused through science, education and popular culture. In an examination of Count Joseph de Gobineau's Essai sur l'inégalité des races humaines (1853-5), it traces the construction of racialized discourse in nineteenth-century America. Baillie examines Toni Morrison's first novel The Bluest Eye (1970) in terms of Morrison's engagement with nineteenth-century racial theory and its implicit presence within ideologies of beauty and American popular culture of the 1930s. Through the figure of Shirley Temple, Morrison shows how the African-American community's internalization of cinematic images of beauty can lead to a psychosis that leaves identity fractured and the racial self all but erased. As well as reading The Bluest Eye as both a critique of scientific racism and as an historical novel in sustained debate with the cultural hegemony of the 1930s, Baillie examines its significance as a text in dialogue with the social and political milieu in which it was written. Here, The Bluest Eye becomes an intervention into the affirmative aesthetic of 1960s Black Power politics and its extreme proclamations of racial pride rooted firmly in black lower-class expression. She discusses the Black Power movement's appropriation of Frantz Fanon's theories and argues that Morrison's own articulation of a black identity eschews the nationalism of Black Power, and instead finds its focus in the political contestation of ideologies through the expression of African-American art forms. The Bluest Eye is an oppositional narrative that draws on western forms and yet privileges African-American vernacular as a counter-balance to language as a vehicle for ideologies of beauty and scientific racism.     

Primum Mobile: Women and Auto/mobility in the Era of the Great War

Abstract: This article explores the construction of Andrea Dworkin as a public persona, or a ‘feminist icon’, revered by some and demonized by others. It argues that in both her fiction and non-fiction, Dworkin engaged in a process of writing herself as an exceptional woman, a ‘feminist militant’ as she describes herself in the subheading of her 2002 memoir, Heartbreak. The article illustrates Dworkin's autobiographical logic of exceptionalism by comparing the story told in Heartbreak to the story of Dworkin's major novel, Mercy, which features a heroine, Andrea, who shares Dworkin's name and significant biographical details. While Dworkin has insisted that Mercy is not an autobiographical novel, the author undertakes a reading here of Mercy as the story of Dworkin if she had not become the feminist icon of her own and others' construction. In Mercy, Andrea unsuccessfully attempts to escape the silent, victimized status that Dworkin has insistently argued is imposed upon women. In her repeated victimization, Andrea functions for Dworkin as an ‘everywoman’ who both embodies Dworkin's world-view and highlights how Dworkin's own biography exists in tension with some of her central assumptions about women, gender and contemporary society.