dementia,care and time in post-war Japan: <Emphasis Type="Italic">The Twilight Years,Memories of Tomorrow</Emphasis> and <Emphasis Type="Italic">Pecoross’ Mother and Her Days</Emphasis>

As the number of people affected by dementia increases rapidly, dementia has been transformed into an epidemic which endangers global health and wealth, and many populations are now living in what Jain terms a time of prognosis, in fear of the disease. Through its strong association with ageing and memory loss, dementia is conceived of as a linear decline into loss of self and death, and those with dementia as other. More significantly, imagined as a threat that signifies both a loss of able-bodied workforce and a large population dependent on care and support, dementia inevitably feeds into the ‘crisis-of-care’ narrative that is prominent in many ageing societies. With one of the fastest ageing populations in the world, and an extremely low birth rate, the dementia prognosis is particularly acute in Japan and dementia is strongly linked to the idea of a ‘care crisis’. This situation has produced an increasing number of cultural representations of dementia and care and this paper considers three of these cultural texts, all rooted in the historical and cultural contexts in which they were produced: the novel The Twilight Years; the film Memories of Tomorrow; and the comic book Pecoross’ Mother and Her Days. The analysis concentrates upon their representations of care, seeing this as a space where the ethical relationship between self and other can be negotiated and where time with dementia can be imagined and re-imagined. The analysis of these texts from a feminist ethics perspective demonstrates the potential of popular and creative representations to interrogate and potentially expand the meanings of dementia, ageing and living in prognosis.     

‘The <Emphasis Type="Italic">Purdahnashin</Emphasis> in Her Setting’: Colonial Modernity and the <Emphasis Type="Italic">Zenana</Emphasis> in Cornelia Sorabji's Memoirs

This article focuses on two memoirs written by Cornelia Sorabji in the 1930s – India Calling (1934), and a subsequent book, India Recalled (1936) – in order to explore how discourses of space and place shaped the representations of femininity which structure these texts. Specifically, I will examine Sorabji's apprehensions of femininity in relation to the Muslim and Hindu women she viewed as her legal ‘clients.’ I am equally interested in these texts as evidence of how memory works as a practice of history – how events as they were recalled and recorded in the volatile 1930s and, especially in the wake of the Katherine Mayo controversy, how they helped shape the versions of the respectable feminine produced in her public writing of the period.     

‘these things not marked on paper’: creolisation,affect and tomboyism in Joan Anim-Addo's <Emphasis Type="Italic">Janie,Cricketing Lady</Emphasis> and Margaret Cezair-Thompson's <Emphasis Type="Italic">The Pirate's Daughter</Emphasis>

This article will look closely at the performance of tomboy identity in Joan Anim-Addo's collection of poetry Janie, Cricketing Lady, written as a tribute to her mother Jane Joseph, and Margaret Cezair-Thompson's novel The Pirate's Daughter, a fiction about Errol Flynn's ‘outside’ Jamaican daughter, May. It will argue that the ongoing affects of colonialism and patriarchy in the islands of Grenada and Jamaica, respectively, shape the life narratives of Janie and May who express their anger, shame, fear, frustration and desire through their ambiguous gender identity and through their determination to intervene in masculinist traditions, such as cricket, piracy and adventure, traditions that underpin Caribbean his/tories. To understand the way in which affect can be expressed through tomboyism in Caribbean societies, it is necessary to look at colour and class alongside gender in the context of Caribbean creolisation.     

“It Must Be <Emphasis Type="Italic">Me</Emphasis>”: Ethnic Diversity and Attributions for Peer Victimization in Middle School

This study examined the mediating role of self-blaming attributions on peer victimization-maladjustment relations in middle school and the moderating role of classroom ethnic diversity. Latino and African American 6th grade participants (N = 1105, 56% female) were recruited from middle schools in which they were either members of the numerical majority ethnic group, the numerical minority, or one of several ethnic groups in ethnically diverse schools. Peer nomination data were gathered in the Fall of 6th grade to determine which students had reputations as victims of harassment and self-report data on self-blame for peer harassment and the adjustment outcomes of depressive symptoms and feelings of self-worth were gathered in the Spring of 6th grade, approximately 6 months later. A mediational model in which self-blame partly explained the relation between victimization and maladjustment was supported among students from the majority ethnic group in their classroom but not among students from the minority group. The usefulness of including ethnic diversity as an important context variable in studies of peer victimization during early adolescence was discussed.

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.     

feminist disavowal or return to immanence? the problem of poststructuralism and the naked female form in Nic Green’s <Emphasis Type="Italic">Trilogy</Emphasis> and Ursula Martinez’ <Emphasis Type="Italic">My Stories,Your Emails</Emphasis>

This essay discusses the work of two female theatre-makers, and their strategic use of nudity on stage. The author appropriates signs of indignation in this work in order to re-visit the ‘problem’ of the female form being traditionally associated with bodily immanence rather than transcendence. Both Nic Green’s Trilogy (2009–2010) and Ursula Martinez’ My Stories, Your Emails (2010) use the naked female form to proffer statements about the experience of being a woman in the 2000s. Their use of nudity breaks with feminist theories popular in the 1990s, which argued that because the female form could never escape the symbolic logic of phallocentrism, it could never escape sexual objectification, and thus should operate on the margins of mainstream culture, cultivate agency by appropriating the means of production and be removed from view (radical negativity). By identifying as ‘artists’ and by insisting on their right to put their experience centre stage, Green and Martinez break with the anti-humanist theories of the 1990s and proffer a more individualistic strain of feminist performance. The author celebrates this work as a break away from the deadlock offered by theories of radical negativity.     

Recognising Family Diversity: the ‘Boundaries’ of <Emphasis Type="Italic">RE G</Emphasis>

In Re G, the Court of Appeal awarded a joint residence order to the appellant, who was the lesbian ex-partner of the child’s full biological mother. The award also indirectly vested the appellant, a social parent, with parental responsibility and extended a body of case law to same-sex couples, which had until now only been applied to heterosexual couples. The initial purpose of this note is to outline the legal issues of the case in the context of the framework of parental responsibility set out in the Children Act 1989, putting forward a test of ‘parental fitness’ (which focuses on active ‘care’ as its central consideration) for social parents who must appeal to the court’s discretion to obtain parental responsibility. Secondly, the note offers at once a positive reading of Re G while highlighting a number of reservations centring upon continued legal preference for the ‘sexual family’. It is argued that while the legal recognition of ‘family diversity’ and parenthood remains modelled on this ‘sexual family’, the relaxation of family ‘boundaries’ (despite legal victories such as Re G) will remain limited. Re G (Children) [2005] E.W.C.A. (Civ.) 462     

feminist publishing in a cold climate?: <Emphasis Type="Italic">Australian Feminist Studies</Emphasis> and the new ERA of research

This article explores the implications for feminist research and publishing in Australia in the new ‘ERA’ of research excellence. Excellence in Research for Australia (ERA) is an initiative of the Australian Federal government to assess research quality within Australia's higher education institutions using a combination of indicators and expert review by committees comprising experienced, internationally recognised experts (Australian Research Council, 2008).