Feminist utopias and questions of liberty: Margaret Atwood's The Handmaid's Tale as critique of second wave feminism

Taking her cue from the recent Cindy Sherman exhibition at Metro Pictures, New York, 'New Photographic Work 2000', Meagher considers the ways in which feminist art critics have analysed Sherman's work since it was first 'discovered' by Douglas Crimp in 1979. Her claim is that analyses of Sherman's work are involved in a debate about whether the images are useful or destructive to feminist politics. More importantly, what has come to be known as Sherman Studies places an emphasis not upon Sherman's art, but rather upon the identify of the artist. Instead of enquiring into the political status of the art works (are they feminist?), critics often end up asking after the political status of the artist herself (is she feminist?). Meagher's essay is in four sections: 'Encounters' traces the critical reaction to Sherman's work; 'In or Out of the Picture' considers the critical tendency to impose a narrative upon the work and the simultaneous insistence that this narrative is informed by the artist's feminist intent; 'New Photographic Work 2000' looks at the most recent reactions to Sherman'swork and prepares for the final section, 'Feminist Occasions', in which Meagher draws upon Nancy Miller and considers the relationship between feminist critics and their resistant celebrity.     

Mary Wollstonecraft and Jane Austen: 'Rape' and 'Love' as (Feminist) Social Realism and Romance

Mary Wollstonecraft's argument for female reason in the Vindication of the Rights of Woman (1792) remains an iconic text for thinking through the his-torical struggle between claims to 'equality' and 'difference' for women. Wollstonecraft herslf embodies the antinomy within European Enlightenment thought exposed by simply being female . Jane Austen's writing career, following on from Wollstonecraft's death, offers a quite distinct mode of writing reason for women in her narrative work. While Wollstonecraft's narratives and theoretical arguments can be shown to raise as textual symptoms the deep struggle between female-embodied subjectivity and Enlightenment reason, Austen sublimates her own magnificent claims to reason in writing itself. Wollstonecraft's novels subsume narrative form to analytical content, dramatizing the sufferings of the female subject of Enlightenment 'patriarchy'. Both her principal characters, Mary and Maria, are as good as dead by the end of their narrative struggles, and these narratives founder on their own analysis of autonomous, rational female subjectivity as 'impossible'. Wollstonecraft projected a historical desire to repudiate the humiliations of femininity under Enlightenment patriarchy. Her work engendered a history of feminist reasoning to answer its painful questions. Austen's work, by contrast, seems to have floated effortlessly to the pinnacle of narrative literary achievement, while remaining uncompromisingly feminocentric. Austen's novels have a tendency to resist feminist theorizing or to fit the paradigms of feminist argument only indirectly. Tauchert explores this apparent polarity between Wollstonecraft and Austen as contrasting origins for distinctive modes of female reason in writing. Wollstonecraft's tortuous textual displays of female reason in writing offer a familiar mode of thinking about the historical and personal enlightenment of women, sustained in a tradition of feminist materialist analysis; Austen's pure narrative offers a hitherto more opaque alternative.     

The rise of flex crops and commodities: implications for research

As a concept and phenomenon, ‘flex crops and commodities’ feature ‘multiple-ness’ and ‘flexible-ness’ as two distinct but intertwined dimensions. These key crops and commodities are shaped by the changing global context that is itself remoulded by the convergence of multiple crises and various responses. The greater multiple-ness of crops and commodity uses has altered the patterns of their production, circulation and consumption, as novel dimensions of their political economy. These new patterns change the power relations between landholders, agricultural labourers, crop exporters, processors and traders; in particular, they intensify market competition among producers and incentivize changes in land-tenure arrangements. Crop and commodity flexing have three main types – namely, real flexing, anticipated/speculative flexing and imagined flexing; these have many intersections and interactions. Their political-economic dynamics involve numerous factors that variously incentivize, facilitate or hinder the ‘multiple-ness' and/or ‘flexible-ness' of particular crops and commodities. These dynamics include ‘flex narratives' by corporate and state institutions to justify promotion of a flex agenda through support policies. In particular, a bioeconomy narrative envisages a future ‘value web’ developing more flexible value chains through more interdependent, interchangeable products and uses. A future research agenda should investigate questions about material bases, real-life changes, flex narratives and political mobilization.     

Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis

The Gothic woman's film, as a particular 1940s phenomenon, responded to the social changes caused by the upheavals of the Second World War. It featured female protagonists, expressed anxieties about marriage and complicated the classic realist premises of narrative and heterosexual closures. As the Gothic narrative trajectory revolved around the heroine's pursuit of marital happiness, these films are often theorized in the sexually differentiated terms of Lacanian psychoanalysis. As a result, they are interpreted as cinematic manifestations of paranoia, primal scenes, passive female desires and the impossibility of female subjectivity. Tay considers how the Gothic woman's film may resist such psychoanalytic codifications by considering critiques of psychoanalysis and investigating the ways in which Gilles Deleuze's cinematic topography may apply to the genre. This engagement with Deleuze reveals how 1940s Gothic films--such as Suspicion (Hitchcock, 1941), Gaslight (Cukor, 1944), and Sleep, My Love (Sirk, 1948)--breach the narrative normativity of classic realist love stories like Random Harvest (LeRoy, 1942). Culminating in a detailed analysis of Hitchcock's Rebecca (1940) as a film that sustains female transgression in its textual operation, Tay posits possibilities for furthering a feminist cinematic discourse beyond psychoanalytic codifications.     

'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.     

Women,Wives and the Campaign Against Pit Closures in County Durham: Understanding the Vane Tempest Vigil

The majority of the women who campaigned to save the Vane Tempest Colliery from closure in 1993 were involved because of their political understanding and allegiances rather than as a consequence of their practical involvement in mining life. Even those women who were married to miners did not conform to the stereotypical conception of ‘miner's wife’. However, the supporting labour movement and the media persisted in conceptualizing the Women's Vigil through romantic and masculinist discourses of miners and mining communities which could only locate the women as ‘wives’, which confined the campaign within historical stereotypes no longer appropriate to the actual situation and which persistently set the idea of socialism against that of feminism. This not only situated the women's campaign as secondary and subject to that of the NUM but it also subverted the possibilities of the women fully articulating their own experience and understanding within the campaign. The situation was further complicated by memories of the miners' strike of 1984-5 in which women played such an important role. One aspect of this role, that of maintaining mining families in the face of hardship, continued to inform understanding of the women's role in the fight to prevent closure, although it was no longer appropriate.The Women's Vigil engaged with a much wider set of concerns and with a wider range of individuals and groups than did that of the miners themselves. There were serious possibilities for broadening the political campaign around the women's slogan of ‘Jobs, community and environment’ which were never fully exploited because of the difficulties of admitting that women could inhabit any position other than that of ‘miners’ wives'.This experience of the Vane Tempest Vigil indicates the significance and the centrality of gender issues within class based political action.     

‘Call Us Ms.’: Viva and arguments for Kenyan women's respectable citizenship 1975–80

Drawing on Viva, the first women's magazine published in East Africa, this article articulates the ways educated Kenyan women actively inserted themselves into public debates and constructions of the new nation. It argues that Viva authors and editors employed rhetorics of nationalism and development to advocate for Kenyan women's right to equal citizenship. They wanted participation in the possibilities, power, and self-reliance that postcolonial nationalism promised its citizens and mobilized images of a productive, modern woman to make their case. Viva's producers appropriated the momentum of 1970s development rhetoric and international women's liberation to show that Kenyan women were already fulfilling mandates to develop themselves and their fellow Kenyans through education, wage labor, consumer habits, and moral respectability. Viva reveals the ambitions, strategies, and desires of Kenya's educated women, not only for themselves but also for their nation and their rural ‘sisters’.     

From 'Political' to 'Human' Economy: The Visions of Harriet Martineau and Frances Wright

The marginalization or exclusion of women from economic theory has a long and distinguished pedigree. Michele A. Pujol, in her groundbreaking study Feminism and Anti-Feminism in Early Economic Thought (1998), wryly observes that whilst Adam Smith devotes an entire page to the question of women's economic activity in his Wealth of Nations , women 'are nowhere mentioned in Ricardo's Principles of Political Economy and Taxation and in Malthus's Principles of Political Economy ' (Pujol 1992:17-23). In similar fashion Groenewegen, in Feminism and Political Economy in Victorian England (1994), notes that 'there have been few women contributors to … economic literature' (Groenewegen 1994:16). Indeed, as far as the first half of the nineteenth century is concerned, only two women - Jane Marcet and Harriet Martineau - seem to have written on political economy. Both wrote as expositors and popularizers of existing theoretical knowledge, content to repeat rather than challenge established orthodoxies, and as a result neither has commanded much more than a footnote in the history of economic thought. Martineau enjoys somewhat more of an enhanced reputation in the field of literary studies but even here attention tends to focus on A Manchester Strike at the expense of her other economic fictions. The present discussion, then, attempts to expand the field of vision with regard to Martineau by examining four of her economic tales: The Rioters (1827), The Turn-Out (1829), The Hill and the Valley (1832) and A Manchester Strike (1832). The first two of these were written prior to Martineau's 'conversion' to political economy, whilst the latter two appeared as part of Illustrations of Political Economy (a series of twenty-three tales published in twenty-five monthly parts between 1832 and 1843). As a way of exploring the disjuncture between economic theory and narrative events within these tales, the narratives themselves are read as implicit commentaries on (as well as 'illustrations'of) aspects of political economy, thereby allowing Martineau to emerge as a much more complex and problematic writer than is usually acknowledged. Also under examination here are the economic ideas of Frances Wright, another early nineteenth-century woman writer, particularly her critique of the existing economic order (which sharply differentiates her from Martineau) and her proposals for a new 'feminine' economy. The intention is to show that women writers on economics were not confined to the role of 'dutiful intellectual daughter, repeating … the words of her intellectual fathers' (David 1987:35)--to borrow Deirdre David's characterization of Martineau in Intellectual Women and Victorian Patriarchy --but were capable of articulating a thoroughgoing critique of existing theoretical models.     

The Sudanese Woman

The nature of the relationship between (proto-)feminism and (anti-)imperialism is highly contested. A case in point is the work of Olive Schreiner, and the articulation of gender politics with (anti-)imperialism which has been subjected to repeated scrutiny in the last twenty years. One strand of criticism, exemplified by critics like Laura Chrisman, Anne McClintock and Carolyn Burdett, argues that Schreiner generally successfully integrates a (proto-)feminist politics with criticism of imperialism in her writing produced after The Story of an African Farm . However, her first novel is viewed as more problematic in this regard. While acknowledging it as a major early text of the women's movement, such critics see the novel as in large measure endorsing prevailing Victorian ideologies of racial hierarchy. Drawing on the methodology of Sub-altern Studies, Moore-Gilbert proposes a rather different interpretation of The Story of an African Farm . Following the lead of Ranajit Guha and his colleagues, he seeks to trace the impact of (the resistance of) the colonized subaltern on the colonizer's unconscious and how this is reflected in the colonizer's regimes of representation and self-image. He proposes that Waldo can be read 'catachrestically' as a figure of the (partially resistant) colonized who at the manifest level occupy only a marginal role in Schreiner's text. The aim is not to overturn readings of Waldo that see him as an exemplary 'modern', embodying many of the characteristics of western civilization at the time. Rather, the argument is that such a 'catchrestic' reading can co-exist simultaneously with these received interpretations of his role, thus corroborating the perception of the Subaltern Studies historians on the existence of conflicts and contradictions in the colonizer's unconscious that mark the (oppositional) presence of the (historically effaced) subaltern. Against their emphasis, however, Moore-Gilbert suggests that the colonizer's unconscious can also be the seat of 'progressive' drives. And the presence of such drives on Schreiner's novel suggests that its racial politics are more consonant with those of her later work than is commonly assumed.     

新时代杭州产业工人队伍建设研究

为进一步巩固党的执政基础，更好地满足新时代产业工人对美好生活的向往，为杭州建设独特 韵味别样精彩世界名城、成为展示新时代中国特色社会主义的重要“窗口”提供动力源泉和支撑保障，本研究 对杭州产业工人队伍基本情况、发展趋势、主要诉求等开展专题调研，深入剖析当前存在的问题，提出加快建 设一支宏大的知识型、技能型、创新型劳动者大军的对策建议。     

Vitalism's after-burn: The sense of Ana Mendieta

This article considers the influential work of Ana Mendieta. Focusing on her siluetas series, Muñoz describes Mendieta's art as performing a modality of brownness that leaves resonant indentions on the world, what he calls vital materialist after-burns. Mendieta's after-burns are read alongside the poet's of Négritude and their investment in a critical élan vital that speaks to the historical precariousness of dispossessed people. The artist's work is explained as a meditation on a critical brownness that is theorized as the sharing out of the unshareable, the invaluable and the incalculable.?Mendieta's intervention is ultimately described as the work of offering a brown sense of the world in which singularities flow into a politically enabling common.     

Inside the Home: Power and Negotiation in Filipina-Japanese Marriages

This essay examines the personal accounts of married Filipina-Japanese couples living in urban Japan to show how the women negotiate power and influence over their husbands. Centering on Filipino ideas about power and “America,” the article draws on various ethnographic vignettes that illuminate the Filipinas' cultural knowledge. By negotiating their relationships, Filipinas' marriages to Japanese emerge as ongoing processes rather than as a static institution in which the women are simply (oppressed) gender-role performers. While these women's struggles are not denied, their actions engender possibilities for the subversion of existing gender-national hierarchies. Belle faced Kawai. “I can't marry you.…I was raped by the son of a powerful man in my hometown. I'm no longer a virgin…” In tears, “Will you still marry me?” Kawai assured her firmly, “It doesn't matter.”     

Marianne Moore and the Arcadian Pleasures of Shopping

When R. P. Blackmur declared in 1935 of Marianne Moore that 'no poet has ever been so chaste',he was deploying a gendered critical language describing Moore's work as ideologically pure, untainted by the commercialism of capital; at the same time, he was carefully demarcating the boundaries between high culture and mass culture (Blackmur 1935:206). However, while Moore's status as an exemplary modernist has secured her a place in the modernist canon, this has inevitably led to readings that marginalize aspects of the poet's work that declare an interest and textual investment in mass culture. Moreover, interpreted within these narrow critical parameters, Moore's verse has been effectively transformed into what Randall Jarrell called one of the 'nicer animals': it has been declawed and tamed, divested of its more radical properties in order to reinforce a self-sufficient and autonomous modernist aesthetic. While it is undoubtedly important to recognize the ways in which modernist women writers have contributed to forms of avant-garde culture, those forms should be identified, in Rita Felski's words, as 'only one of a continuum of cultural practices' rather than as the dominant model for critical investigation (Felski 1994:191-208). Tracing the relation between Moore's poetry and the discourses of fashion, advertising and consumerism is an attempt to resist reproducing what Andreas Huyssens has referred to as 'the great divide' reinforcing modernism's cultural hegemony. The philosophical frames of modernity, particularly as it has been theorized by Walter Benjamin, provide the discursive context for making visible and valuable Moore's preoccupation with aspects of her own contemporary popular culture. Furthermore, by gendering this modernity, by recognizing the ways in which the formations of capital produce and consume 'woman' as discursive subject, Moore's poetic shopping sprees reveal the difference gender makes to our understanding of modernity and its relation to modernism. Moore's work, as illustrated by archival material based at the Rosenbach Museum and Library as well as her poems and her critical essays, is as much constructed out of the arcadian pleasures of modernity as it is the expression of the poetics of high art. With its investment in the aesthetics of display, the discourses of advertising and the pleasures of consumption, Moore's poetry offers a model for reading a gendered modernism in the context of modernity. The poem, 'When I Buy Pictures' (1921) will provide the focus for this discussion as it suggests not only how the aesthetic is related to consumer culture but it also reveals the textual traces of a debate taking place in the visual arts in the United States concerning the nature, value and function of 'pictures' as cultural signs. However, before looking more closely at the poem, it might be worth reconceptualizing Moore's writing in relation to some of the recurrent 'motifs' of modernity.     

Texts in context: Afro-Colombian women's activism in the Pacific Lowlands of Colombia

This paper speaks across the divide between feminist theorists and praxis-oriented gender experts to argue for a more enabling reading of postcolonial feminist critiques of gender and development. Drawing on the activism of Afro-Colombian women in the Pacific Lowlands of Colombia – most especially Matamba y Guasá, a network of black women's organizations from the state of Cauca – it brings attention to the independent ability of women in these locations to reflect and act on their own realities and claims.     

‘Good-bye Pompey,komm bald zurück’: Stevie Smith's Vision of Germany in Novel on Yellow Paper

Abstract

In Stevie Smith's debut novel Novel on Yellow Paper, set in 1936, the narrator Pompey Casmilus recalls several trips to Germany she made in the years shortly before the rise of the Hitler regime. The memories of these German travels are linked to Pompey's love affair with a Swiss-German student named Karl with whom she has spent time in both England and Germany. The essay explores the significance of the German theme in the novel. This theme emerges in Pompey's memories of Germany and Karl, which at first glance appear to be random moments of recollection. However, the German theme also asserts itself in what I call Pompey's German voice, a distinct narrative voice that uses a specific German vocabulary and mimics German speech patterns, which appears at different points throughout the novel and is not exclusively linked to Pompey's memories of Germany. The essay argues that this narrative voice, the Karl-Pompey romance plot and the narrator's obsessive concern with Jewishness combine into an exploration of the Anglo-German relationship in the inter-war years and the attraction which Germany held for some British visitors during the 1920s and early 1930s, an attraction which is linked to previous literary explorations of the country by British writers such as D. H. Lawrence and which by 1936 has taken on an ominous significance as Pompey observes from afar the atrocities being committed within Germany in the name of the Hitler regime.     

'Money,for the night is coming': Jean Rhys and Gendered Economies of Ageing

The published collection of Jean Rhys's correspondence opens with two undated photographs of Rhys on facing pages. The author's pose is nearly identical in the two images: her head rests on her hands and her large, dark eyes, rimmed with black liner, look directly out at the viewer. In both pictures, Rhys's hairstyle is exactly the same - though the colour and texture have changed - and the vivid pattern on her clothing is also similar. Both are portraits of a strikingly beautiful woman, and together they suggest a narrative embodying several concerns central to Rhys's early fiction: the exhibition of feminine beauty, the passing of time, and the social, biological and economic consequences of ageing for women. The strong continuities between the two photos, along with their striking differences, serve as a visual representation of the need for women to appear unchanging, to weave a narrative or create an image of the self that keeps the past and present contemporaneous in order to maintain value in the sexual marketplace. The inter-relations of gender, value, age and expenditure suggested by the two photographs are articulated in Jean Rhys's early novels, which depict the economy of investment and loss that women face as they age. In Rhys's texts - and particularly in her two first-person narratives - there is an attempt to recreate in prose the simultaneous experience of past and present, not simply as an example of modernist experimentation with narrative continuity, but also as a specifically gendered response to the economic and social consequences of ageing for women.     

工会“娘家人”标准化建设研究

习近平总书记多次强调，工会干部要成为职工群众信赖的“娘家人”。但什么是“娘家人”， 怎样当好“娘家人”，还缺乏深入系统的研究。“娘家人”具有最亲近、最贴心、最信任、敢担当等特征。目前， 工会干部在如何当好真正的“娘家人”方面还存在主体意识不强、职责不明确、认可度不高、评价机制不完善、 综合素质有待提高等诸多问题。“娘家人”标准化建设，既是落实习近平总书记讲话精神的具体举措，也是亿 万职工内心的期盼，更是新时代工会组织新作为的创新探索。研究认为，应在增强“娘家人”主体意识、提高“娘 家人”身份认同度、明确“娘家人”具体职责等方面加强建设，以更好地服务职工、满足广大职工的需要。     

Food regimes and the production of value: Some methodological issues

In critically re-examining the concept of food regime this article argues for an alternative formulation thatposits the concept on the foundation of the theory of value, rather than the developmentalist framework of the regulation theory within which it was originally posed. This is possible because while the insights of food regime analysis were rooted in a world historical perspective on global value relations, its presentation always subordinated the latter to the more abstract stage theory of the regulation school. Disentangled from regulationism, the concept of food regime is central for a labour-oriented perspective on imperialism as a relation of production embedded in global value relations. This is part of a broader methodological critique that locates the problematic of development (and consumption, in the postdevelopmentalist era) within the discourses of bourgeois modernity (and postmodernity) and seeks to differentiate these from the problematic of labour and labour emancipation. The article addresses the problem of a conflation of theory and history in connection with a developmentalist/positivist reading of Marx, and suggests 'global value relations', 'global working day', 'global worker', as world historically informed concepts that capture the 'unity of the diverse'. Global value relations include the politics of state relations, the world market, colonization and imperialism, and the (often geographically segregated) labour regimes of production of relative and absolute surplus value. The latter is posed as a contemporary relation of neo-liberal capitalism involving (postmodern) over-consumption on the one hand and (still modern) forced under-consumption on the other hand. 'World hunger amidst global plenty' is an expression of these relations.     

re-reading horror stories: maternity,disability and narrative in Doris Lessing's <Emphasis Type="Italic">The Fifth Child</Emphasis>

The central issues raised in much of feminist literary theory's early scholarship remain prescient: how does narrative engage with the social‐historical? In what ways does it codify existing structures? How does it resist them? Whose stories are not being told, or read? In this article I use Doris Lessing's novel The Fifth Child (1988) as a text with which to begin to address the above questions by reading with attention to the mother story but also the ‘other’ stories operating both within and outside of the novel; in particular I am concerned with the convergence of maternity, disability and narrative. The novel's co-implication of sexual difference and corporeal difference reveals the ways in which the mother's story is both made possible and authorized by the disabled body of her child, and by his inability to tell his own story. Yet, if The Fifth Child is a horror story that uses the disabled child's body as its ground, it is also about the horror of maternity, in its conception and attendant choices. In this fictional story as well as in the social‐historical narrative circulating at the time of its publication in the late 1980s, both child and mother are indicted in their otherness and it is ultimately impossible to separate one from the other.