Dreams by Day and Night: Kant,Freud and Ella Freeman Sharpe

Abstract: The poet and novelist Mathilde Blind (1841–96) is known to have been influenced by evolutionary theory, particularly in her epic poem The Ascent of Man (1889). However, critics have not yet noted the extent to which her depictions of the courtship plot in her less overtly evolutionary writings are indebted to Darwin's representations of animal mating rituals. Although Darwin's commentary on patterns of relationships in the animal world often reinforced stereotypes of masculine aggression and feminine coyness, feminist writers, including Blind, shifted the focus onto creatures, such as birds and spiders, whose mating behaviour disrupts these stereotypes. This article examines four pieces in which Blind re-imagines the courtship plot by applying imagery of other species to human relationships: her poems ‘The Song of the Willi’ (1871), The Heather on Fire (1886) and ‘The Teamster’ (1889), and her novel Tarantella (1885). By rewriting the courtship plot in this way, Blind contests the idea that middle-class gender relations are sanctioned by the natural world and highlights the variety of possible gender roles found in other species.     

‘Throbb[ing] with a consciousness of a knowledge that appalled her’: Embodiment and Female Subjectivity in the Desert Romance

This article examines the relationship between the desert and embodiment in E. M. Hull’s international best-seller The Sheik (1919). This novel, a desert romance, has been the focus of feminist scholarship for decades because of its controversial rape narrative. Drawing on theories of embodiment, in particular the work of Elizabeth Grosz, the author interrogates how the desert is paradoxically presented as a space of liberation and oppression within which female sexuality could be explored despite the gendered violence of pre-existing patriarchal frameworks. Ultimately, the author provides a reading of Diana in terms of her transition from an androgynous ‘girl’ to a sexually desiring, seemingly feminized ‘woman’, and examines the connotations associated with this. The author establishes a connection between the transient nature of the desert and the liberation offered to women within this liminal space. Through an in-depth examination of the protagonist Diana’s corporeal subjectivity over the course of the novel, the author positions The Sheik as offering a voice to female sexuality and erotic fantasy, demonstrating Hull’s depiction of the desert as an appropriation of that space through which to explore female desires. This opens up new understandings of what constituted innovative literature in interwar Britain and marks Hull’s book, with its overtly erotic content and specific focus on female desire, as a political and social departure.     

When convenience is inconvenient: ‘healthy’ family foodways and the persistent intersectionalities of gender and class

This article draws on findings from an auto/biographical study about relationships with food to demonstrate how everyday foodways continue to be influenced by the intersectionalities of gender and class. Following Bourdieu [1984. Distinction, a social critique of the judgement of taste. London: Routledge] how ‘foodies’ use food and foodways (the production, preparation, serving and eating of food) as a material and cultural display of capital (Johnston, J., & Baumann, S. 2010. Foodies, democracy and distinction in the gourmet kitchen. London: Routledge) or even ‘culinary capital’ (Naccarato, P., & LeBesco, K. 2012. Culinary capital. London: Berg) has been demonstrated. There has been less work exploring how mothers use ‘feeding the family’ (DeVault, M. I. 1991. Feeding the family. London: University of Chicago Press) as a source of cultural capital for themselves. Three-quarters of the 75 respondents in my UK study were parents and all mothers with dependant children fed their family ‘healthy’ food as a means of performing a particular middle-class habitus. I therefore examine how mothers engaged in ‘healthy’ foodwork as a means of positioning themselves as ‘good’ mothers or ‘yummy mummies’ (Allen, K., & Osgood, J. 2009. Studies in the Maternal, 1). Indeed, despite decades of gender equality in the public sphere and neo-liberal assertions regarding individualism, ‘feeding the family’ (DeVault, 1991) continues to be a highly gendered activity, with the added pressure of now having to provide ‘healthy’ food cooked from scratch. In these accounts, convenience foods and/or ‘unhealthy’ family foodways were vilified and viewed with disgust, with an adherence to ‘healthy’ family foodways used as a means of drawing boundaries within fields of ‘organised striving’ (Martin, J. 2011. On the explanation of social action, Chicago: University of Chicago Press; Savage, M., & Silva, E. B. 2013. Cultural Sociology, 7, 111–126). This article considers ‘healthy’ foodwork as a significant aspect of ‘good’ middle-class mothering, whereby ‘healthy’ family foodways become significant in the performance and display of ‘proper’ middle-class femininity that pathologises alternative family foodways and ‘other’ femininities. This serves to illuminate continuities within the intersectionalities of gender and class, with a commitment to ‘healthy’ family foodways central to ‘future oriented’ (middle classed) maternal identity.     

Feminist writing about the early modern period

Rudolf M. Dekker & Lotte C. van de Pol, The Tradition of Female Transvestism in Early Modern Europe, (Macmillan), London, 1989; Bridget Hill, Eighteenth Century Women: An Anthology, (George Allen & Unwin), London, 1987; Stephanie Coontz, The Social Origins of Private Life: A History of American Families 1600–1900, (Verso), New York, 1988; Natalie Davis, Society and Culture in Early Modern France. Eight Essays, (Polity Press), Cambridge, 1987.     

Effeminate Edmund Burke and the masculine voice of Mary Wollstonecraft

ABSTRACT

This article focuses on the gendered and nationalist rhetorical strategies Mary Wollstonecraft used in her work The Vindication of the Rights of Man which was written as an open letter of response to Edmund Burke's Reflections on the Revolution in France . While a number of scholars note Wollstonecraft’s adoption of a masculine voice in her systematic feminizing of Burke, this article also pays attention to the ways in which Wollstonecraft impugns Burke with the taints of being crypto-Catholic, Irish, and quasi-French. We notice how Wollstonecraft’s masculine voice is rational, combative, righteously passionate, middle-class, patriotically English and critically Protestant. We compare the fashioning of Wollstonecraft’s voice with contemporary political caricatures of John Bull and the cartoon depictions of Edmund Burke that appeared as Wollstonecraft was composing her VRM. Wollstonecraft’s VRM gained her considered attention and her critique of Burke’s character, (and what this article claims is her misreading of his aesthetic treatise), have been remarkably influential even to the present day. The characteristics of the distinct voice created in Wollstonecraft’s first Vindication are also evident in her second and more famous Vindication of the Rights of Woman. However, the rhetorical commitments entailed in Wollstonecraft’s public voice created challenges for her arguments in the second Vindication that demand careful attention.     

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.     

Non/living Matter,Bioscientific Imaginaries and Feminist Technoecologies of Bioart

ABSTRACT

Bioart is a form of hybrid artistico-scientific practices in contemporary art that involve the use of bio-materials (such as living cells, tissues, organisms) and scientific techniques, protocols, and tools. Bioart-works embody vulnerability (intrinsic to all beings) and depend on (bio)technologies that allow these creations to come into being, endure and flourish but also discipline them. This article focuses on ‘semi-living’ sculptures by The Tissue Culture and Art Project (TC&A). TC&A’s artworks consist of bioengineered mammal tissues grown over biopolymer scaffoldings of different shapes and require sterile conditions of a bioreactor and constant care in order to survive. The article explores how bioart-works are always already intertwined with multiple (bio)technologies and techniques of care and labour, forming specific feminist technoecologies that challenge conventional bioscientific and cultural imaginaries of embodiment and the relation between physis and techné. TC&A’s sculptures expose life as the non/living: the processual enmeshment of the organic and inorganic, living and non-living, and growth and decay. The article argues that thinking with and through the feminist technoecologies of bioart mobilises philosophical inventiveness: not only does it problematise the entwinement of technology and biomatter and of culture and nature, but it also prompts us to rethink the ontology of life.     

Women,ordination and the church

Margaret Ann Franklin (ed), The Force of the Feminine (Allen & Unwin) Sydney, 1986; Margaret Ann Franklin and Ruth Sturmey Jones (eds), Opening the Cage (Allen & Unwin) Sydney, 1987; Kate Nelson and Dominica Nelson (eds), Sweet Mothers, Sweet Maids (Penguin) Ringwood, 1986; Karen Armstrong, The Gospel According to Woman (Elm Tree) London, 1986; Kerreen Reiger, The Daughters of Eve and Mary: Women in the Modern World, Occasional Paper No. 6, IPOFAC, Mission of St James & St John, Melbourne, 1987.     

Knowing voices: From silence to wisdom

Mary F. Belenky, Blythe McV. Clinchy, Nancy R. Goldberger, & Jill M. Tarule, Women's Ways of Knowing: The Development of Self, Voice and Mind (Basic Books) New York, 1986.     

Which way to the barricades?

Ann Curthoys, For and Against Feminism. A Personal Journey into Feminist Theory and History (Allen & Unwin) Sydney, 1988; Elizabeth Wilson, Hidden Agendas. Theory, Politics, and Experience in the Women's Movement (Tavistock) London & New York, 1986; Charlotte Bunch, Passionate Politics. Feminist Theory in Action (St. Martin's Press) New York, 1987.     

Chōra/Chōros: Samuel R. Delany and the masculine semiotic in Through the Valley of the Nest of Spiders (2012)

Julia Kristeva’s idea of the semiotic chōra continues to haunt gender, literary, and political theory and practice. Reaching what some might consider its controversial climax in the early to middle 1990s – following its introduction in La revolution du langage poétique – the fate of the chōra was left mainly with Judith Butler’s deconstruction of Kristeva’s use of the term in Gender Trouble and Bodies that Matter. Respectively Butler argues: (a) ‘Kristeva restricts herself to an exclusively prohibitive conception of the paternal law, [and] is unable to account for the ways in which the paternal law generates certain desires in the form of natural drives’ and (b) ‘Kristeva insists upon [the] identification of the chora with the maternal body.’ The present article seeks to resurrect this debate with a critique of Kristeva’s as well as Butler’s position regarding the chōra; my argument is twofold: (i) Kristeva is guilty of being unable to account for the generative capacity of the paternal law and (ii) Kristeva’s use of the semiotic chōra does indeed resonate uncomfortably close to certain frequencies of essentialism in gender theory; however, both criticism can be overcome by adding chōros, the masculine form of chōra, to Kristeva’s theoretical lexicon. In order to sketch out the implications for gender, literary, and political theory and practice I turn to American author and critic Samuel R. Delany’s Through the Valley of the Nest of Spiders.     

“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.     

Hard labour: Four views on women in the workforce

Desley Deacon, Managing Gender. The State, the New Middle Class and Women Workers 1830–1930 (Oxford) Melbourne 1989; Sally Hacker, Pleasure, Power and Technology. Some Tales of Gender, Engineering and the Cooperative Workplace, (Unwin Hyman) London 1989; Rosemary Pringle, Secretaries Talk. Sexuality, Power and Work, (Allen & Unwin) Sydney 1988; Claire Williams, Blue, White and Pink Collar Workers in Australia. Technicians, Bank Employees and Flight Attendants, (Allen & Unwin) Sydney 1988.     

Towards feminist economic strategies

Rhonda Sharp and Ray Broomhill Short Changed; Women and Economic Policies Allen & Unwin) Sydney, 1988; Marilyn Waring, Counting for Nothing: What Men Value and What Women Are Worth (Allen & Unwin) Sydney 1988; Barbara Pocock, Demanding Skill: Women and Technical Education in Australia (Allen & Unwin) Sydney 1988.     

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.     

Pilgrimage: The necessary journey

Pilgrimage, by Dorothy M. Richardson, is the portrayal of Miriam Henderson's struggle for independence and freedom in a society hostile to female self-reliance. The novel explores the external barriers to her liberation and analyses what it actually means to be a woman. Whilst accepting many of the masculine definitions of feminity Richardson asserts that the traditionally foolish and endearing characteristics of women — their illogicality or lack of abstract reasoning — are actually virtues that make women the deeper and wiser sex. More important, however, is the internalised conflict of Miriam, who as the surrogate son, the woman who contains ‘masculine’ qualities, becomes a symbol of the confusions and tensions of the transitional age in which she lives. And today as much as yesterday Richardson speaks for thousands of women who also feel they fight alone.     

Techniques of black male re/dress: corporeal drag and kinesthetic politics in the rebirth of Waacking/Punkin’

The improvisation-based dance Waacking/Punking developed in gay underground disco clubs of 1970s Los Angeles and circulated transnationally via television's landmark black music/dance show Soul Train. With almost all male progenitors passing during the early AIDS crisis, the culture was reborn in the 2000s to the transnational hip-hop/street dance arena, now a competition style dominated by nonblack cisgender females. While seeming to promote hetero-normative gender performance, learning the dance practice potentially queers movement norms through corporeal drag – techniques for trying on and refashioning movement that transform kinesthetic consciousness. At the same time, the obscure structural positioning of the black male figure associated with Waacking/Punking's historical context complicates and disorients gendered notions of power and racialized sexuality in its rebirth. This trans-methodological study centers experiences of black practitioners, drawing from first-person stories of pioneer and new generation dancers, as well as native ethnography and archival research. In subtle ways, Waacking practices redress black masculinity and question performing social inclusion under terms of a white patriarchal order – terms that suture blackness-to-pathology-to-violence. The erotic practice of Waacking/Punking may be understood as an embodied re-negotiation of hegemonic demands on gender and sexuality, made possible through its transmission of a black kinesthetic politics.     

Transing the small screen: loving and hating transgender youth in Glee and Degrassi

The teen television shows Glee (2009-) and Degrassi (2001-) are notable for diversity in gender and sexuality representations. Glee represents a variety of masculine women and feminine men as well as gay, lesbian, and bisexual characters. Likewise, Canada's Degrassi franchise has portrayed non-heterosexual characters in significant and controversial ways. Its most recent incarnation, Degrassi (previously Degrassi: The Next Generation) is discussed in this article, alongside Glee, in relation to their recent inclusions of two transgender-identified teenagers bringing transgenderism to the fore of these programmes' discussions of gender and identity. As trans youth are highly vulnerable due to both systemic ageism and cisgenderism, it is not surprising that both detail narratives of discrimination and assault driven by bigotry and ignorance. Conversely, they also explore more positive aspects of the lives of young people, such as friendship and romance (even as these cause their own problems at times), also enjoyed by trans youth. As such, the themes of ‘love’ and ‘hate’ manifest in interesting ways in both of these televisual texts and guide this article's analysis. While challenging assumptions that trans lives are governed by negative emotional states, these representations continue to reify stereotypes, not only of transness, but also of boyhood, girlhood, race and their intersections. Both representations are grounded in material and emotional journeys (or movements) and the concept of the ‘moving body’ (Keegan, 2013 Keegan, C. M. (2013). Moving bodies: sympathetic migrations in transgender narrativity. Genders, 57. Retrieved from http://www.genders.org/g57/g57_keegan.html. [Google Scholar]) partly informs these readings. The privileging of certain modes of trans personhood and embodiment over less normative (unseen, unacknowledged, and thus invisible) ones is at stake in these representations, but they also lay the groundwork for diverse future depictions. By addressing this gap in research, this article elucidates how gender (diversity) is being constructed for consumption on adolescent television and its potential for (re)thinking trans/gender, identity, and embodiment for young people in contemporary Western societies.