Postmillennial femininities in the popular romance novel

Popular romance fiction was thought to carry a patriarchal ideology and was often dismissed as a manifestation of ingrained prejudice and bigotry against the female sex. However, there appears to have been influence from feminism, particularly where Harlequin Mills and Boon stories use the contemporary world and ‘reality’ as a touchstone. In this article I will discuss how the heroines of Harlequin Mills and Boon postmillennial ‘Modern’ novels display various expressions of feminism which contribute to the construction of their identities but that ultimately these tales rely on the dismantling of these autonomous identities sine the heroine is still required to be ‘swept off her feet’.     

西方马克思主义女权主义在当前的新发展--评《资本主义的终结--关于政治经济学的女权主义批判》

吉布森和格雷汉姆作为西方马克思主义女权主义者,在其合著《资本主义的终结》中从女权主义的角度,运用了后结构主义的认识论和方法论解构了原本对资本主义的认识方式。主张打破资本主义/非资本主义二元对立中资本主义类似于男性的等级优势和霸权地位,寻求性别和阶级的多样化联合,力图解构全球化中假定的资本主义一统天下的男性霸权。     

Toward a Feminist State: What Does ‘Effective’ Prosecution of Domestic Violence Mean?

This article examines domestic violence criminal prosecutions and addresses what 'effective' prosecutorial action means in such cases. The argument elaborates on a point recently articulated by the UN Special Rapporteur on Violence against Women, which links effective prosecution of violence against women to the creation of a less patriarchal society. The article concludes that 'effective' prosecution of domestic violence means prosecution which constitutes the State as less patriarchal ceteris paribus .     

性别话语的历史印记与女性意识的当下尴尬

在西方女性主义思潮的冲击和影响下,当代中国女性的生活发生着不同的变化,女性的自我意识在权力话语的遗留和解构权力话语之间艰难成长、摸索前行.对既成的历史事实并深植于现有的社会结构中的中国女性意识的缺憾和不足进行探讨,对呼唤广泛的女性意识的理性觉醒和在差异中求平等、在开放中求自由的女性主义的到来具有重要意义.     

西方女性主义学术思想的传播及其本土实践--对当前中国妇女研究的思考

10多年来,西方女性主义学术思想在中国的传播,对于我国学界新的学术理念的确立、研究方法和思维方式的转变以及学科建设等方面产生了促进作用.但作为舶来品的西方女性主义,在引进和传播的过程中,如何与中国本土的妇女理论研究和妇女解放实践密切结合,仍将是今后一段时期内妇女研究不可回避的一个重要理论问题.因此,当前应着重处理好学术与政治之间、提高与普及之间、全球化与本土化之间的关系.     

公私领域划分与国际法中的性别歧视

国际法通过公私领域的划分确定其管辖范围,并避免干涉主权国家的内政。女性主义者指出,这种划分包含着对女性的规范性歧视和结构性歧视。国际法的基本术语如国家、主权等,排除了国际法对国内违反人权事项的管辖,维护了男性在国内的特权地位。在国际人权法领域,在确定是否给予女性以人权保护时,也是以维护男性利益为出发点。女性主义方法揭示了国际法中存在的性别歧视,但该方法也存在许多问题,需要加以注意。     

拉康与法国女性主义

本文在介绍精神分析同女性主义关系渊源的基础上,分析拉康的精神分析学对法国女性主义的影响,及法国女性主义者对拉康精神分析学的批评与接受,重点突出拉康同三位法国女性代表的关系,她们是克里斯蒂娃、艾瑞格瑞和西苏。     

社会性别的马克思主义诠释

对社会性别的马克思主义诠释是社会性别理论本土化和丰富发展马克思主义妇女理论的需要。本文认为社会性别是社会历史的产物,消除不合理性别差异的最终目的是人的解放,实现这一目标的途径是在发展生产力的基础上进行制度文化的变革。社会性别理论在某种程度上存在忽视生理区别、片面归因于文化、抹杀性别差异的局限,需要从马克思主义立场加以补充和校正。     

Eleanor Rathbone and the Politics of Citizenship

Despite Eleanor Rathbone having many firsts to her name she is largely forgotten. While students are now taught little about her ideas or successful political campaigns as an Independent MP, her ideas on feminism are relevant to today's political debate about the rise of anti-social behaviour. The failure of many families to teach their offspring those common decencies which make possible living in close proximity to other human beings brings back centre stage Eleanor Rathbone's views on endowing motherhood.     

Expo afterlife: corporate performance and capitalist futurity in the Carousel of Progress

This article discusses a theatrical spectacle created by Walt Disney and General Electric for the 1964 New York World’s Fair that has run for the last five decades: the Carousel of Progress, a history pageant that stages the evolution of domestic technology in the twentieth century. As a spectacle dedicated to celebrating tools that bolster women’s participation in the social reproduction of capitalism, the author argues, the Carousel shows how expos utilize theatricality in order to inscribe industrial technologies within corporate ideologies. By apprehending the Carousel of Progress as a site of corporate performance, the author demonstrates how the Carousel’s afterlife in theme park entertainment has enabled Disney to theatricalize disparate modes of capitalist futurity in response to shifting cultural sensibilities. The author situates the Carousel within an economy that has consistently presented female domestic labor as subordinate to corporate capital, culminating with its late-1990s staging of an illusory prefeminism, which fantasizes a twentieth century in which no feminist movement took place. Engaging with theories of corporate performance, this article takes up the Carousel of Progress’s production history as an indication of theatricality’s longstanding utility to corporate capitalism.