The Madonna and Margaret fuller

Alicia Suskin Ostriker. Feminist Revision and the Bible. Cambridge, Blackwell Publishers, 1993. 148 pp., ix; intro., Catherine Pastore Blair and Harold Schweizer.

Brenda Webster, Sins of the Mothers. Baskerville Publishers, Dallas, Texas, 1993. 364 pp.

Shoshana Felman, What Does a Woman Want? Reading and Sexual Difference. Baltimore: Johns Hopkins University Press, 1993, 178 pp.     

Orwell's despair,Burdekin's hope: Gender and power in dystopia

George Orwell's 1984 bears a striking resemblance to a little-known anti-fascist dystopia, Swastika Night, that was published twelve years earlier. While the similarities between the two books are in some cases remarkable, of even greater interest is the different treatment of political domination and gender ideology in the two novels. Orwell's critique of power worship is inherently limited by his inability to perceive that preoccupations with power and domination are specifically associated with the male gender role. By contrast, Katherine Burdekin, a feminist writer who published Swastika Night using the pseudonym ‘Murray Constantine’, focuses her critique on the ‘cult of masculinity’ and the fascist dictatorship to which it can lead. Her novel is set 700 years in the future, after Hitlerism has been established in Europe as the official creed, and with it a ‘Reduction of Women’ to an animal level. This essay analyses the relationship between gender and power as understood by these two writers, one world-famous, the other forgotten.     

Relating feminisms,nationalisms and imperialisms: Ireland,India and Margaret Cousins's sexual politics

Abstract

From 1907 to 1913 Margaret Cousins was one of the most prominent leaders of the Irish Women's Franchise League, the most militant of the various Irish suffragist groups. A Theosophist, Cousins left Ireland in 1913 for Theosophical headquarters in Madras, spurred by her commitment to “the cause of womanhood the world over”. Throughout the 1920s and 1930s Cousins played a central role in certain forms of Indian feminist and cultural nationalist movements. This article attempts to sketch some of the ways in which Cousins's class and imperial situation provoked and limited her feminist ideology.     

Margaret Mead and Paradigm Shifts Within Anthropology During the 1920s

The debate between Derek Freeman and the silenced ghost of Margaret Mead remains unintelligible to many readers because of the absence of historicist context for the early work of Mead. Despite Freeman's apparent attention to historical documents, he makes virtually no effort to situate Mead within Boasian anthropology or the interwar years more generally. This paper provides such contexts in terms of the Boasian paradigm of the time and how Mead was understood by her contemporaries. This context dispels the black and white indictment of a disciplinary heroine with feet of clay, and provides the baseline for a more balanced assessment.     

女性意识与陈染的写作困境

陈染是女性主义写作的代表作家之一。女性意识,就像一把双刃剑,给她的小说带来了一种细腻优雅的空灵之气,但过强的女性意识同时也给她的创作带来了无法解决的困境,使得她的创作缺乏全面性及宽博;在艺术上也呈现出一种焦灼急躁的气息,失之直露,阻碍了小说的审美效果。     

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.     

应用语体风格说略

应用语体的基本语言格调是平易朴实、庄重典雅。其下位分体既有应用语体的风格基调 ,又因语体手段上的同中之异 ,在语言的气氛格调上有所区别。     

Maeve Kelly and new Irish women writing

Until quite recently, the Irish woman in Irish fiction has been largely the creation of male Irish writers, and—with few exceptions—a general archetype of a religious, disappointed and passive woman has prevailed. However, in the last few years, there has been a sudden and exciting emergence of new Irish women writing, and with this, a marked change in the image of Irish women in this new fiction. Maeve Kelly is an outstanding example of this new type of female writer, and there is a very interesting development in the Irish women she portrays in her short stories. The passive martyr has given way to a woman who actively struggles against her environment.The work of these new women writers reflects the changed position of Irish women in Irish society today.     

Women Poets on the Left: Lola Ridge,Genevieve Taggard,Margaret Walker. Nancy Berke. Gainesville: UP of Florida, 2001.

Nancy Berke offers a cogent and convincing argument to include radical women poets within the canonical texts of modernist poetry. Unlike the broad overview texts commonly used in academic settings, Berke's Women Poets on the Left places Lola Ridge, Genevieve Taggard, and Margaret Walker within the context of the political and social histories that shaped their lives and consciousness. This work complicates poetic analyses, challenges white male dominance in the field, and provides a critical feminist take on poetry produced by women on the left during the twenties and thirties. Moreover, Berke's inclusion of Margaret Walker, whose work falls between two critical periods, the 1940s and 1960s, contextualizes how the poetry of activist women provides multivalent perspectives and demonstrates a continuum of radical modernist poetry in the United States.