MEMORIAL ACCOUNTS

Under the conditions of narrative construction, young queer men's coming out stories present memorial accounts of ‘always-having-been’ queer; a queer childhood. The ways in which coming out stories operate have developed significantly over the past decade, particularly resulting from the use of online, digital technologies where such narratives proliferate. This article presents some initial theorisation of the role of young men's coming out narrative in the constitution of performative queer identity with a focus on the construction of memory. The article presents an overview of the history of coming out and the ways in which this history has influenced the conventions and genre of the coming out narrative online. It addresses some of the ways in which such memorial accounts are performative acts themselves, seeking to stabilise queer masculine identity, and ends with a discussion as to whether or not online sites such as YouTube continue or disrupt such stabilising narratives.     

‘Nature takes no notice of morality’: singleness and married love in interwar Britain1

This article draws attention to the dominance of marriage during the twentieth century and the strain this institution was, and still is, under. This is achieved by focusing upon the single as a problematic category in the context of interwar Britain through an examination of the writings of Marie Carmichael Stopes, one of the leading experts on marriage, and her single correspondents. There are clear contradictions in Stopes's writings, which she was unable to acknowledge, between sex as a normal healthy appetite which it could be dangerous to suppress and the denial of a sex life to the single. These are shown to have had the potential to destabilise marriage as the only site of legitimate reproduction and sexual relations. Examining the differences between her advice to single men and women also exposes the gender divide in relation to the concept of sublimation and the difficulties inherent in the concept of substitute mother as a stable and coherent identity for the single woman. The article concludes by making links between the position of single men and women in the early twentieth century and today.     

Fighting for Recovery: foremothers and feminism in the 1970s

ABSTRACT

This article argues that the feminist recovery of ‘a history of our own’ during the 1970s proved difficult in ways not fully addressed in generalising narratives (celebratory or regretful) of feminist historical work. The recovery of a nineteenth-century ‘pioneer woman', Mary Hallock Foote, demonstrates the competing interests in play—feminist and anti-feminist, popular and scholarly, public and familial, national and local—as well as the problematic positions of that these cross-cutting debates. The question of recovery, use and even ownership, of Foote and her history retains its ability to spark argument almost fifty years later.     

Popular Sexual Knowledges and Women's Agency in 1920s England: Marie Stopes's Married Love and E.M. Hull's The Sheik

This article examines popular discourses of women's sexuality in 1920s England and argues that sex manuals like Marie Stopes's Married Life and sex novels like E.M. Hull's The Sheik, despite their adherence to status quo values, were liberating for women through their affirmation of women's sexual subjectivity. Stopes's enormously popular book contributed strongly to a new understanding of women's sexual drives as natural and autonomous. The changing attitudes were reflected in the numbers of postwar women who actively participated in the creation and consumption of popular sex-novels and films, exercising both economic and sexual freedoms at once. This article focusses on the film version of The Sheik, which experienced great success as part of this growing leisure market catering specifically to women's desire, and in particular on the figure of Rudolph Valentino as a “woman-made” man. The film's “crossed” representations of sexuality (the emancipated “flapper” and the effeminate yet virile “sheik”) challenged traditional notions of femininity and masculinity, and in doing so, were liberating for women consumers at the same time that they threatened the sexual identities of men.     

recovering the past in Jodhaa Akbar: masculinities,femininities and cultural politics in Bombay cinema

As the dominant media institution in South Asia, Bombay cinema's cultural production of narratives, images and spectacle plays a crucial role in the effort to consolidate and project definitions of the nation. Moreover, such images are exported to the South Asian diaspora worldwide as part of the processes associated with the globalized cultural product referred to as Bollywood. This discussion examines the production and reception of the 2008 film Jodhaa Akbar both as process and product of complex historical, cultural and political nation-building projects in which gender plays a central role.     

Warmth and Unity with All Women? Historicizing Racism in the Australian Women's Movement

In this paper I discuss the four Women and Labour conferences which were held in Australian capital cities over the seven years between 1978 and 1984. I explore the ways in which the history of Australian feminist activism during this period could be written, questioning in particular the claim that the Women and Labour conferences have been central to the history of Australian feminism. I discuss the ways in which a historical sense could be established, using writings about the conferences as historical ‘evidence’, that race and ethnic divisions between women had not been important to the ‘women's movement’ until 1984. In other words, I challenge the construction of this conference as a turning point - not only in the feminist politicization of immigrant and Aboriginal women, but also in the politicization of all feminists about race and ethnic divisions. More broadly, I am interested in how a history would be written if it aimed to get to the ‘truth’ about racism and about the feminist activism of immigrant women. How would the apparent lack of written ‘evidence’ - at least until 1984 - of immigrant women's feminist activism, and of the awareness of Australian feminists about issues of racism, be written into this history? In addition, I suggest that it is important to the writing of feminist history in Australia that published documentation has been mostly produced by anglo women, and is thus partial and mediated by the lived, embodied experiences of anglo women. Finally, my intention is to interrogate commonly understood narratives about Australian feminist history, to challenge their seamlessness, and to suggest the importance of recognizing the tension within feminist discourses between difference as benign diversity and difference as disruption.     

Stories of life Stories of living: Women’ narratives and feminist biography

Narrative structure in biographical accounts is currently a much debated theme. This article brings together methodological debates in life story research and discussions within feminism about women's narratives and feminist biography. Connections between gendered conceptions of time and structures in narrative accounts are explored, and seen in relation to the context of interviewing. The latter is problematized as a setting that affects both the form and content of the biographical accounts given by informants. From this approach the opportunity arises for illuminating connections between “private troubles” in people's lives and “public issues” in society. An empirical discussion based on biographical interviews with white, Norwegian, middle‐class women, is carried out to illustrate the points made.     

Weird Lullaby Jane Campion's <Emphasis Type="Italic">The Piano</Emphasis>

This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests - siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard of hearing, short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires.It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure.     

The presence of absence: Beyond the “great goddess” in Ana Mendieta's Silueta Series

Ann Liv Young's The Bagwell in Me, which premiered at The Kitchen in NYC, 2008, continues this experimental dance-theater artist's characteristically brutal, anatomizing exposure of the performers’ bodies through both sexual and violent narratives. This analysis examines how Young's construction of a certain type of subject on the stage challenges the subjectivities of her audience members, provoking moments of potential eruption. By setting up the possibility of abjection through the ambivalent dynamic of attraction and repulsion, and bombarding the audience with tropes that engender a push toward Georges Bataille's concept of “radical formlessness,” I argue, Ann Liv Young's performance places notions of the stable subject – composed of a “whole” body that is coherently organized and intelligibly coded in terms of sex, gender, sexuality and race – into question. Not only will this analysis explore how viewing oral sex as choreography speaks to Bataille's discussion of radical formlessness through decontextualization and the maddening effects of staring at the sun, but it will also interrogate how the same strategy of radical formlessness could have entirely different performative effects regarding the threat of bodily coherence and taxonomy within the narrative of historical racial violence.     

‘It wasn't like that at all’: memory,identity and legacy in Jessie Kenney's The Flame and The Flood

ABSTRACT

This article uses Jessie Kenney's unpublished and fragmentary autobiography The Flame and the Flood to show how suffragettes reacted to, and tried to re-write, the emerging historical narratives on militant suffrage. As June Purvis and Sandra Stanley Holton have shown, Sylvia Pankhurst's The Suffragette Movement became the dominant frame through which the suffragette movement was understood. Yet Krista Cowman's revealing study of Mary Gawthorpe also demonstrates that many suffragettes were distressed at the way this narrative became cemented in popular and academic understandings of the movement. Developing this understanding by showing how suffragettes resisted Pankhurst's account to offer an alternative account of suffrage history, this article offers new insights into suffrage life-writing in the later twentieth century. It conceptualises The Flame and the Flood not as a monologue focused on Kenney's own experience, but as a dialogue with existing cultural narratives, and demonstrates the interaction between collective and individual identity in suffrage autobiography.     

Feminist Recoveries in <Emphasis Type="Italic">My Father's House</Emphasis>

One of the achievements of feminist politics, in a range of disciplines and practices, has been to secure a hearing for traumatic narratives of incest. Recently, however, the debate in the public domain seems overwhelmed by what has come to be known as ‘the memory wars’. Fathers accused by adult daughters have dismissed the possibility that traumatic childhood memories can be recovered, largely on the grounds of science and reason. This response of accused fathers would seem to drive out other ways of reading and interpreting the traumatic histories of the cultures we inhabit. On the other hand, feminist responses to narratives of incest are complicated by the desire for appropriate endings. Taking Sylvia Fraser's autobiography, My Father's House: A Memoir of Incest and Healing (1989, 1992) as an exemplary text, this article explores the difficult implications for adult women who commit to literary writing their memories of incest. In particular, how can feminism respond to an incest survivor who wants to forgive her father?     

African American Art in a Post-Black Era

The term “post-black art” was invented in the late 1990's by Thelma Golden, curator and executive director of the Studio Museum in Harlem and Glenn Ligon, an African American artist. This paper examines the origins of the term, its definition and the extent to which the phrase challenges cultural practices that adversely impact artists of color and women. A discussion of the works of two African American artists who worked in the early part of the 20th century provides historical perspective on the origins of damaging cultural practices which prevailed for many decades. Though the civil rights movement instigated real change, the era unwittingly played a role in introducing cultural policies and practices that continued to limit the way in which the work of women and artists of color was presented and interpreted to the public. The paper concludes by observing the work of individual artists who circumvented those limiting cultural policies and practices and who in their imaginatively inventive ways of engaging the public were the precursors to the current "post-black" point of view.     

Yes to Women Bishops—Yes to Women?

The move to ordain women as priests and bishops in the Church of England has taken nearly 40?years of campaigning in General Synod and almost 100 years of discussion and debate more widely in the Church. Christina Rees, a member of the Church of England's ruling body, the General Synod, considers why there has been such a long struggle, especially after agreeing that women can be ordained as priests, and therefore are suitable for Holy Orders. Over the past 25?years she has uncovered disturbing evidence that the insidious ideology of patriarchy has distorted theology in ways that has contributed to entrenched discrimination against women in the Church.     

Striking Narratives: class,gender and ethnicity in the ‘Great Grunwick Strike’, London,UK, 1976–1978

This article explores the ways in which dominant narratives and images constructed the industrial dispute that took place between 1976 and 1978 at the Grunwick Film Processing Laboratories in Britain's capital city, London. Since 1978, this strike has achieved almost mythic status in British labour history, as the moment when the trade unions supported the demands of minority women workers. The authors argue that the dominant narratives and images disguise the complexity of events and the diversity of the strikers, constructing a narrative of success and celebration, even though the strikers were not re-employed.     

Cause for concern: young women and leisure, 1930–50

During the late 1930s and throughout the 1940s the leisure of young women attracted much interest from youth workers, psychologists and educationalists. Indeed, in 1939 their leisure became an organised and respectable focus of state intervention. This article addresses how, and in what ways, the leisure of young women came to acquire significance as an issue of concern, object of analysis, and sphere of intervention. The argument developed here is that public approaches to young women's leisure need to be understood in terms of the ways in which ‘leisure’ was discursively constructed during the inter-war period as a social phenomenon of considerable significance, and how this intersected with discourses on female adolescence within a framework of concern for the stability of British society and democracy. Such concerns about society were strong throughout the inter-war period but were intensified during and immediately after the Second World War. The interconnection of these three themes of ‘leisure’, ‘adolescence’ and societal stability are illustrated with reference to discussions in the 1930s and 1940s about what constituted the problem of young women's leisure and suggestions concerning young women's leisure needs.     

‘A sort of land debatable’: female influence,civic virtue and middle-class identity,c 1830-c 1860[1]

The recent emphasis on the bourgeois public sphere as a predominantly masculine space means that the wider meanings and interpretations of respectable women's presence at public occasions have been ignored or misunderstood. This article addresses the contribution of urban middle-class women to the public construction and expression of middle-class identity in the mid-nineteenth century, and examines the way in which women were written into civic narratives as champions of public virtue. It is argued that the notion of ‘female influence’ allowed women to expand their public roles, and even to participate in potentially subversive political activities. However, it also effectively contained such activities by distancing ‘respectable’ women from the potentially corrupting arena of political controversy.