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.     

From autobiography to biography: Roma the First

Roma Flinders Mitchell, 1913–2000, AC, DBE, Queen's Counsel, Judge, Founding Chair of the Human Rights Commission, Chancellor of the University of Adelaide, Governor of South Australia, was the first woman in Australia—often also the first in the British Commonwealth—to gain the positions and honours that gild any narrative of her life. How did she do this? What was it like for her? Such questions follow immediately. And then, making it more complicated, what else was there in her life besides achievements and honours? What other doors opened before her as she moved through her days? And what doors closed? How did she choose some doors and not others?

These are questions that we are addressing in our biography of Roma Flinders Mitchell. They are not questions that we will consider here, though. Rather, our subject in this article is not our narrative but Roma Mitchell's own story of her life. It develops into a three‐stranded narrative, composed principally of interviews for press and television, predominantly during the last decades of her life. It is therefore a story shaped by her recognition of herself as exceptional, ‘Roma the First’, and also by other people's desires that she be—for them—precisely that: ‘Roma the First’. This is the ‘authorised’ narrative of Roma Mitchell's life, the story that she told herself. Many regard it as unquestionably definitive, and therefore determining. Yet, it does, itself, prompt an array of questions.

The story is set in Australia, ‘the last of lands, the emptiest’ wrote poet A.D. Hope, in a time that historian Michael Ignatieff deemed ‘“the worst century there has ever been,” in wanton destruction of human life and in murderous unreason masking itself as reason’. More specifically, it takes its beginning from the early years of the twentieth century, in the city of Adelaide, core of a British colony founded less than a century earlier, on the plain that had basked in the custodianship of the Kaurna people before the arrival of the ships from Britain, roughly in the middle of the southern curve defining the Australian continent. The forms that appear in the story derive from those origins: the British law which the colonists practised, with all its theatrical paraphernalia and terminology; a gradually developing copy of Westminster government, but with deference to British rule and allegiance always observed; education adopted from schools and universities in England and Scotland. Only in its churches was it distinct, for, among all of Britain's colonies in Australia, South Australia was the ‘paradise of dissent’. Here, on the edge of the anglophone world, this story did not so much unfold as gather itself together and take off.     

Fictionalizing Hospitality in Ahdaf Soueif's Short Story ‘Knowing’

Drawing on Derrida's double conceptualization of the ‘la question de l’étranger’, which he utilizes to unpack the notion of hospitality, this paper explores the question of foreignness in Ahdaf Soueif's short story ‘Knowing’, from her collection I Think of You: Stories (2007). Jacques Derrida uses the interrogative mode to examine the diasporic situation by looking at ‘the question of the foreigner’, which ‘is a question of the foreigner, addressed to the foreigner’. To Derrida, the diasporic condition is determined by the type of hospitality offered or withheld by visiting and hosting countries. Likewise, Soueif questions the notion of hospitality as she introduces homes and locales that seem uncongenial to foreign dwellers. In ‘Knowing’, Soueif portrays the foreigner's position as being marked by the presence or absence of hospitality. In this context, the Derridean conditioned hospitality could become invasive as it colours diaspora with its own peculiar brush. As she fictionalizes hospitality, Soueif blurs the line between home and host as well as that between guest and stranger. In the short story, she introduces the insidious effects of the new receiving culture as her fictional girl is not a guest since the host country withholds the Derridean unconditional hospitality; neither is she a stranger as foreignness dictates a sense of cultural dislocation, which is that of not ‘knowing’.     

‘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).     

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.     

Pushing Dualisms and Differences: From ‘Equality versus Difference’ to ‘Nonmimetic Sharing’ and ‘Staying with the Trouble’

Abstract

Critically revisiting the ‘equality versus difference’ dualism that is inscribed in the feminist canon of the last decades is an important task for feminist ethico-political discussions today. The theoretico-political tension between claims of equality and difference still troubles feminist discussions and thus needs to be addressed by contemporary research. Yet, moving beyond the persisting antagonism cannot be done by either moving outside the problematic relation or by choosing one term over the other. It is, as Joan W. Scott noted, impossible to choose between equality and difference, so that other ways of tackling the problem are needed. This article suggests a new line of flight for feminist politics in respect to this founding paradox from a feminist new materialist/posthuman(ist) perspective. Via an affirmative reading of Irigaray's cosmopolitical concern of Sharing the World (2008) and a critical investigation into the structuring ‘anthropological limit’ (Derrida) of her sexual difference thinking, the author pushes the dualistic framework of equality versus difference towards a thought of ‘nonmimetic sharing’ and ‘staying with the trouble’. In her argument, she turns to the differential worldings of Grosz's ‘differing’, Barad's ‘quantum’ and Haraway's ‘terran’ in order to open up ethico-political alternatives to engage difference(s) differently. The article ultimately argues that by affirming all multifaceted (im)material worlding entanglements, significant new insights can be gained for both theorizing differentiality as ethico-onto-epistemological ‘becoming-with’ and for practising this world of/as difference(s) in a more ‘response-able’ manner.     

Authenticity of self‐expression: Reinterpretation of female independence through the writings of simone de beauvoir

Based on the autobiographical writings of Simone de Beauvoir, this paper reinterprets the concepts of “dependency” and “independence” with respect to women's experiences. De Beauvoir, considered a strong and independent woman, continuously struggled for emotional independence, a struggle which she conceived as being against the need that drove her “impetuously toward another person”. However, a careful examination of de Beauvoir's inner voice as it is reflected in the subtext of her autobiographical writings, suggests that her true struggle revolves around a desire for authentic expression of her feelings and needs — rather than for separation from others.

As an adolescent de Beauvoir was caught between the expectations of her parents and her own needs, remaining the “dutiful daughter” at the expense of being false to her own self. This pattern of dependency reappears in her adult life, when she seems to be incapable of validating her feelings of jealousy and anger in her relationship with Sartre. Her means of coping with this problem is by giving it a literary expression, hence, she seems to gain a sense of freedom and independence by giving her repressed feelings an authentic outlet.

The re‐reading of de Beauvoir's autobiography in a new light of feminist criticism reveals a concept of dependency different from the need to rely on, receive help from, and be influenced by another. When one examines the meanings of dependency and independence through the female language of connectedness and women's values of care and involvement, the essential meaning of dependency shifts from the lack of self‐reliance to suppression of self‐expression, and from struggles for separation to struggles for one's personal truth and for authenticity in one's relations with others.     

Constance Maynard's Life-Writing Considered as Spiritual Autobiography

Viewing Constance Maynard's unwieldy life-writings within the tradition of spiritual autobiography reveals many of the irresolvable tensions with which she wrestled. Although she chose to see her public role as spearheading a crusade against modern rationalism, her inner life was as much concerned with the struggle to repudiate her parents’ ascetic Evangelical piety in favour of a more emotionally intense spirituality. Her conviction of conversion's centrality fostered a sense of mission which bolstered a sense of her own exceptionality as a ‘prophet’ chosen by God. This in turn nourished her belief that she was justified in exempting herself from the roles and relationships conventionally assigned to her gender, by pursuing same-sex desire and sexless motherhood.     

Conversations with Lil: A play with Alzheimer's in five scenes and a couple of phone calls

Editors’ note – Elinor Fuchs's family memoir, Making an Exit, the story of her mother Lillian's unusual career and later memory loss, was published in 2005. Since that time Elinor has been invited to speak before many different groups on her experience as a caregiver. On occasion, instead of a talk, she has offered a performance, spliced together from the fragments of conversation she taped with her mother over several years. In these conference performances, Elinor performs both her own words and her mother's, and reads all notes, scene titles, asides, and “stage directions.”     

Sexuality and citizenship: the state and girls' leisure provision in England, 1939-45

ABSTRACT

The main feminist conceptualisation of women's close relationships from the eighteenth to the early twentieth century characterises these as ‘romantic friendships’ and argues that a stereotype of ‘the lesbian’ was invented by sexologists such as Havelock Ellis and applied to these relationships in order to condemn them. A number of pieces of primary research are presented which suggest that this approach is highly problematic. In the case of Emily Wilding Davison's close relationship with Mary Leigh there is simply too little historical evidence to be able to draw any conclusions as to its character or its meaning for the women concerned. In addition, Edith Lees Ellis has been seen as a woman whose romantic friendships were ‘morbidified’ as lesbianism by her husband Havelock Ellis, although in this case archival evidence clearly shows that she certainly saw herself as a ‘invert’. And relatedly, the same archival source also shows that some women experienced their sexuality in ‘mannish’ terms in the absence of any evidence of an influence on them of the pejorative writings of sexologists. Rather than premature theoretical generalisation, what is needed is more primary research on particular women's close relationships and the social context in which these were located.

     

Exile

Marta Raquel Zabaleta's autobiographical piece takes us through the trajectory of her exile as an Argentinian refugee, first in Glasgow and then in London. Forced to flee with her husband, a Chilean UN refugee, she describes the differences between the ways her husband and herself were treated by those in solidarity groups and other aid organizations and the particular difficulties faced by women refugees. She explores the isolating effects of having her professional identity and status erased as a refugee and of being relegated to the sole status of ‘wife’. Zabaleta also insists on the fundamental rights of refugees and asylum seekers to have both their histories and their desires for the future acknowledged by those in the host country.     

Spaces of self-consciousness: Carla Accardi's environments and the rise of Italian feminism

“Spaces of self-consciousness” examines three environments created by the Italian artist Carla Accardi in light of an emerging feminist politics. Though better known as a painter, Accardi created these three-dimensional works during an era of political and social upheaval in which her own commitment to the Italian feminist movement began to take shape. Her environments were deeply imbricated both with her own experience of autocoscienza, or consciousness-raising, as well as with radical design proposals that rejected the current state of civilization. This article examines how these environments functioned as prototypes of the transient, anti-institutional spaces that she would later create as co-founder of Rivolta femminile, a historic Italian feminist collective, and examines a previously obscure moment in Carla Accardi's career.     

Sisters in a Fashion: Martha Ansara and Elaine Welteroth

ABSTRACT

This article discusses Martha Ansara and Elaine Welteroth, two US born feminists who came to Australia during two key moments in feminist history, as a way of thinking about the relationship between feminists and fashion. Ansara arrived in Sydney in 1969 carrying women’s liberation literature in her suitcase; she became an important generative figure in the Australia’s women’s liberation movement, particularly as an independent filmmaker and proponent of consciousness raising. Welteroth arrived in 2017 to speak at the Sydney Writers’ Festival during a period of international resurgence of feminist activism. She brought with her images of women of colour she had featured in Teen Vogue and she invoked second wave consciousness raising, albeit in a remodelled, corporate-led form when she talked about the title’s plans to bring young girls around kitchen tables to ‘solve’ political problems. The article uses comments both women have made in relation to fashion and beauty, close readings of their works, and a discussion of their respective feminist milieus to suggest a trajectory of feminism’s relationship to the fashion industry that appears to have changed from a position of opposition to one of open embrace. It also complicates this reading by pointing to the resonances between these women of different feminist eras.     

‘Situated Knowledges’ and New Materialism(s): Rethinking a Politics of Location

Abstract

Playing a pivotal role in foregrounding a feminist politics of difference, a politics of location embodies what can be termed second-wave concerns that continue to inform contemporary feminist modes of inquiry and research. However, the attention to material specificity that locatability performs has emphasized the identity of the speaking subject at the same time as it has acknowledged materiality's entangled engagements as suggestive of the complicated production of any identity. In her 1988 essay ‘Situated Knowledges’, Donna Haraway both raises and responds to the challenge of a feminist politics of location in a way that anticipates a convoluted politics of the subject, in particular where she is not satisfied to relinquish universality and objectivity, or the ‘non-local’, in her provocative thinking through of situated knowledge production. The partial perspective she uncovers insists that the capacity for identity is addressed as a political gesture, with a reminder that any appeal to perspective is a non-innocent participation in what it helps to produce. In taking up Haraway's essay, the author engages with the problematic nature of a politics of location that is confounded by the direction of its critical interventions, and in such a way anticipates and performs new (feminist) materialist concerns. Questioning the nature of non-locatability and its political imperatives, the author suggests an ‘annunciative politics’ through which to consider some of the implications of Haraway's figuring of the partial perspective, to ask after feminism's political impetus with the tensions raised in Haraway's argument kept alive.     

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.     

Sor Juana Inés de la Cruz: ‘Let your women keep silence in the churches…’

Sor Juana Inés de la Cruz chose to take the veil not only because she had no wish to marry but because in her time the convent was the only environment which sanctioned a woman's desire for a life of study and meditation. However, her brilliant mind ventured far beyond the parameters permitted by her church, for she devoted a large part of her literary activities to secular topics, dared to criticize the male Catholic establishment and questioned the Church's inconsistent—and to her, oppressive—treatment of women. In her autobiographical letter ‘The Reply to Sister Philotea’ (1691) she took her most radical feminist stance and artfully manipulated both Scripture and patristic texts to support her personal ends: the right of women to an education and to an intellectual life.     

Elizabeth’s Pious Pilgrimage; or the Ghost in the Garden

Abstract

This article is an analysis of the ‘Pious Pilgrimage’ section of Elizabeth and Her German Garden from a psychoanalytical perspective, focusing on the uncanny sense of the spectrality of the living and its connection to gender identity. It also offers an intertextual reading, placing the passage in the context of ‘the ghost in the garden’ as a recurring trope in the English novel. When ‘Elizabeth’ returns to the garden of her childhood, she experiences two spectral encounters: an imagined glimpse of her grandfather’s ghost and an encounter with a doppelgänger in the shape of a real child with her own name, who makes her feel as if, like Shelley’s Magus Zoroaster, she has met her ‘own image walking in the garden’. She is not the only figure in English literature to do so: behind the kitchen garden where Elizabeth has her encounter we can feel the presence of the kitchen garden in Great Expectations, where Pip sees a prophetic vision and encounters a double in the form of a ‘pale young gentleman’. This same encounter with ‘the ghost in the garden which is not a ghost’ resurfaces in a number of later texts, of which the author discusses two instances: Frances Hodgson Burnett’s The Secret Garden and David Profumo’s The Weather in Iceland. These can be taken as positive and negative conceptions of the spectrality of the living: von Arnim’s ‘ghost in the garden’ is balanced between the two in a passage treading the boundaries of comic realism and Gothic horror.     

The Subversive Stitch: Female craft,culture, and ecriture

By making an embroiderer her central narrative voice and embroidery both the structural and the thematic focus of her most recent novel (Le Passé empiété [The Back Stitch]), Marie Cardinal complements Rozsika Parker's efforts (The Subversive Stitch: Embroidery and the Making of the Feminine) to trace the parallel histories of embroidery and femininity through the novel. For both Parker and Cardinal, embroidery figures the creative tension between conformity and subversion that Cardinal posits as common to all women and that results in Le Passe empiete in a complex reevaluation not only of the female artist herself but of both the traditional and the feminist critical context within which she currently creates. In particular, Cardinal explores the relationship between women's traditional domestic tasks and their artistic production, and she uses the specific qualities of embroidery to rethink common assumptions about literary influence and authority, the writing process, and the mythic tradition.     

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.     

Dame unise,feminist maiden who fares well with the patriarchy: Jessica Amanda Salmonson's ‘the prodigal daughter’ and the emerging tradition in feminist speculative fiction

In her discussion of recent feminist utopias, Joanna Russ notes that the authors have likely read one another and that their ‘works form a remarkably coherent group in their presentation of feminist concerns and the feminist analyses which are central to these concerns’ (Russ, 1981: 71). My essay further explores the emerging tradition in feminist speculative fiction. It notes the common elements connecting three novels—Anne McCaffrey's Dragonsong (1976), Suzy McKee Charnas' Motherlines (1978), and Elizabeth A. Lynn's The Northern Girl (1980)—and analyses Jessica Amanda Salmonson's ‘The prodigal daughter’ (1981) in terms of its relationship to these connections. References to Louise Bernikow's Among Women (1980) link these feminist imaginative works to feminist reality, reality which is more closely adhered to by Salmonson than by the authors of the novels. While the novels' feminist protagonists succeed in isolation from the patriarchy, Salmonson's feminist hero, Dame Unise, succeeds because she is able to cooperate with a patriarch. Positive images of patriarchy are absent from the novels; Salmonson's story emphasizes such positive images.