The many lives of Bertha,Georges and Jean: a transgender mystic in interwar Belgium

ABSTRACT

This article addresses the religious career of a transgender mystic who died as Père Jean in 1967. While it might sound contradictory, for scholars working on women, mysticism and charisma, sources on Jean’s life offer exceptional insights. When Jean made the news in the 1920s, he headlined as Bertha Mrazek/Georges Marasco and was still perceived as a woman. Bertha’s cross-dressing, miraculous cure and law suit started discussions about what it meant to be a charismatic woman in post-war Belgium. Rather than focusing on the sensational aspects, the emphasis here is on Jean’s reinventions, the historicity of his appeal to others, and the importance of ideals of gender and sanctity as well as the historical context in the reception of this transgender mystic.     

WHERE ARE THE WOMEN IN MULTICULTURALISM?

Abstract This article discusses the need to re-imagine multiculturalism and feminism in order to better accommodate women in minority cultures who are religious. It begins and ends with comments about multiculturalism and ‘difference feminism’ in Australia. In the body of the paper I use anthropological field-work in Indonesia, first to show that culture and religion are not separate and immutable, and secondly to show how Muslim women in the women's movement in Indonesia are using Islam to build a multicultural discourse. Finally I apply my findings about Muslim women activists in multicultural discourse in Indonesia to multiculturalism in Australia.     

Words as Deeds: debates and narratives on women's suffrage

Abstract

This article is about the experience of menstruation, a function which many women spend much of their lives concealing. It is a topic which many regard as intensely private. Some, men and women, consider it distasteful and others still, historically unchanging and inconsequential. The authors argue that menstruation has played an important role in the twentieth-century construction of ‘womanhood’, and in constituting women as ‘the other’ in the eyes of male non-menstruators. This New Zealand study draws principally on two narratives about women's bodies. One is derived from cultural representations of the modern feminine body through sanitary product advertising, some of it international in origin, covering the time span 1935 to 1969. This is considered alongside the practical lives of bodies, the personal narratives given to us by 50 women relating their experiences of menarche and subsequent periods.     

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.     

food

The shift to companionate marriage in South Asia and elsewhere is widely read as a move from ‘tradition’ to ‘modernity’ resulting in an expansion of individual agency, especially for women. This paper critically examines the narratives of urban middle-class women in Sri Lanka spanning three generations to illustrate that rather than indicating a radical shift in the way they negotiated between individual desires and social norms, the emphasis on ‘choice’ signals a shift in the narrative devices used in the presentation of the ‘self’. The paper illustrates how young women’s narratives about marriage appear to suggest ‘modernity’ as inevitable—that its processes are reconstituting the person who, less constrained by ‘tradition’ and collective expectations, is now experiencing greater freedom in the domain of marriage. However, it also shows how urban middle-class families in Sri Lanka have collectively invested in the narrative of choice through which ‘a choosing person’ is consciously created as a mark of the family’s modernity and progress. Rather than signalling freedom, these narratives about choice reveal how women are often burdened with the risks and responsibility of agency. The paper illustrates that the ‘choosing person’ is produced through narratives that emphasise agency as a responsibility that must be exercised with caution because women are expected by and obligated to their families to make the ‘right’ choices. Hence, a closer look at the individualised ‘choosing person’ reveals a less unitary, relational self with permeable boundaries embedded within and accountable to family and kinship.     

Act Natural: Dubious Proposals in The Mill on the Floss,The Pastor’s Wife,Vera and Rebecca

Abstract

Following George Eliot, Elizabeth von Arnim showcases a male rhetoric of naturalness. Her men cultivate and punish their women when they resist naturalizing. Without denigrating the intelligence of women, von Arnim shows their unwitting complicity in their subjection. In The Pastor’s Wife (1914) and in Vera (1921), the highly literate women have read the wrong books or missed the unfriendly truths about relationships in those they have read. The husbands and lovers make shallow use of philosophical and scientific reasoning to justify their control and enforce female uniformity deemed ‘natural’. Darwin is misappropriated by the tyrannical Wemyss: evolutionary theories support his imperious dismissal of Lucy’s aunt and friends. Wemyss’s most monstrous actions suggest an atavistic patriarchal dominance like the hereditary reversion theorized by Samuel Butler as unconscious memory. Wemyss brings up the issue of England’s inheritance, and a disturbing vision dawns as the philistine and self-appointed natural man subdues Lucy. Daphne du Maurier’s Rebecca (1938) follows Vera’s plot, but it does not interrogate naturalness in the same way. Entrapped in her husband’s vision of a natural woman, the narrator registers Rebecca’s wild transgressiveness as more powerful and universal than her own tamed naturalness.     

rethinking the interplay of feminism and secularism in a neo-secular age

The need to re-examine established ways of thinking about secularism and its relationship to feminism has arisen in the context of the confluence of a number of developments including: the increasing dominance of the ‘clash of civilizations’ thesis; the expansion of postmodern critiques of Enlightenment rationality to encompass questions of religion; and sustained critiques of the ‘secularization thesis’. Conflicts between the claims of women's equality and the claims of religion are well-documented vis-à-vis all major religions and across all regions. The ongoing moral panic about the presence of Islam in Europe, marked by a preoccupation with policing Muslim women's dress, reminds us of the centrality of women and gender power relations in the interrelation of religion, culture and the state. Added to postmodern and other critiques of the secular-religious binary, most sociological research now contradicts the equation of modernization with secularization. This article focuses on the challenges that these developments pose to politically oriented feminist thinking and practice. It argues that non-oppressive feminist responses require a new critical engagement with secularism as a normative principle in democratic, multicultural societies. To inform this process, the author maps and links discussions across different fields of feminist scholarship, in the sociology of religion and in political theory. She organizes the main philosophical traditions and fault lines that form the intellectual terrain at the intersection of feminism, religion and politics in two broad groups: feminist critiques of the Enlightenment critique of religion; and feminist scholarship at the critical edges of the Enlightenment tradition. The author argues that notwithstanding the fragmented nature of feminist debates in this area, common ground is emerging across different politically oriented approaches: all emphasize ‘democracy’ and the values that underpin it as the larger discursive frame in which the principle of secularism can be redefined with emancipatory intent in a neo-secular age.     

A Christ in curls: the contested charisma of Mary Ann Girling (1827–1886)

ABSTRACT

In May 1871 Mary Ann Girling, an itinerant preacher of Suffolk, set her first firm step to public, charismatic leadership. Through apocalyptic prophecies, mystical visions, stigmata, and gospel events that encompassed ‘dancings, prophesyings and trance utterances’, and through fashioning a public persona with a complicated relationship with the media and an elaborate appearance—the curls in the title are part of that appearance—she gathered a flock of devotees and ensured constant media attention. Her exuberance, also fascinated curious and sceptical people. They mocked her appearance, challenged her charismatic authority, and on several occasions resorted to violence to show their discontent. By tracing the stages in the construction and development of Girling’s charisma and examining its reception, this article argues that charisma is the precarious result of constant renegotiation between the charismatic, her community, and wider society.     

“So distant and wild a scene”: language,domesticity and difference in Hannah Kilham's writing from West Africa, 1822-1832

Abstract

Hannah Kilham (1774-1832), a Sheffield Quaker, was involved in philanthropic, educational and missionary work with women in Britain, Ireland and West Africa in the early nineteenth century. In this article the author focuses upon Hannah Kilham's. engagement in the religious and domestic education of African girls and women in the 1820s and 1830s. Through representations of African women as in need of her ‘civilising influence’, Kilham was able to construct a powerful role for herself, and for other white middle-class British women, in the colonial/missionary enterprise. The article explores the significance of notions of gender, domesticity and the Protestant family to the construction of ideas about Africa's ‘difference’ and, through this, British national identity.     

Appealing to the Female Vote: Dutch political parties and the approach of women voters in general election campaigns,c.1922–1980

This article explores the effects of female enfranchisement on the nature of political identity formation in Dutch election campaigns between 1922 and the early 1980s. It argues that women voters played a key role in the imagination of the Netherlands as a ‘pillarised society’ in which political constituencies were represented as stable and based on ‘objective’ characteristics like class and religion. The continuous representation of women as politically ignorant and indifferent served to maintain a self-identity that made women susceptible to ‘be educated’ and ‘learn to understand’ their political identity. The second feminist wave did much to upturn dominant representations, but older discourses proved persistent. The call to take women more seriously as members of the demos, again resulted in a separate treatment of women in political propaganda, with organisations like MVM and the parties' (rebranded) women's clubs, as well as commercial women's magazines now playing a key role in their ‘political education’.     

‘Sable venus’, ‘she devil’ or ‘drudge’? British slavery and the ‘fabulous fiction’ of black women's identities,c. 1650–1838

Abstract

In this article, the author addresses the problem of how much historians can understand about the identities of individuals living in a different epoch in time, in relation to what has been termed the ‘fabulous fiction’ of black women's identities in slavery and freedom. A central argument is that stereotypes of black women were highly gendered and clustered around contradictory representations, particularly the ‘Sable Venus’, ‘She Devil’ and passive ‘drudge’. Thus, the persistence of an African-centred ‘woman's culture’ and strategies of resistance, collaboration and survival are vital to understanding black women's self-defined (as opposed to white attributed) identities. The first section examines the relationship between gender, race and culture in the mediation of African and slave women's identities. This is followed by a critical deconstruction of the ‘Sable Venus’ and interrelated black and white gendered identities in colonial slave society. The final section analyses the importance of the ‘She Devil’ in representing the resistant slave woman who defied the ‘fabulous fiction’ of white stereotyping of black women. A wide time span is adopted in order to analyse how black women's relationship to the gendered power structures underpinning colonial slavery shifted over time, as did ‘white visions’ of their identities. Unifying themes are the central location black women had in the development of colonial relations between black and white and the implications of contact at the harsh interface of African and European cultures for black women's gendered identities.     

Legal Form and Temporal Rationalities in UK Work–Life Balance Law

Abstract

This article attempts to crack open the temporal assumptions in the goal of ‘balancing’ work and family, as it is mobilised in UK law. Within studies of gender and labour, ‘balance’, as a concept and a politico-legal objective, is worthy of much more scholarly attention than it has received to date. In the UK context, balance is understood as a means of achieving equilibrium, both at the level of the labour market and within the context of unpaid care. Specifically, mobilising the short horizon of a ‘reckonable present’, balance creates a paradigm or topos through which dilemmas of value and care can be played out and resolved. The specific qualities of the UK's right to request flexible work, for its part, indicate that law's temporal qualities can have specific regulatory functions, shifting scale and reframing responsibilities. By looking closely at legal technicalities, we can discern much about the conceptual logic that affects many of us through influential regulatory strategies. The political imperative of analysing work–life balance might, in this way, require us to return not only to time, but also, strangely, to legal form.     

‘The film gone male’: women and the transition to sound in the British film industry 1929–1932

ABSTRACT

Taking its cue from Dorothy Richardson’s essay, ‘The Film Gone Male’ written for the critical, Left-wing British film publication Close Up in 1932, this article looks at women working in the British film industry during the transition from silent to sound cinema between 1929 and 1932. It considers the effects of new sound technology on women’s roles in front of and behind the camera from production to reception and critique. It also questions whether sound technology further marginalised women as producers of cinema and interrogates whether synchronised sound masculinised film as Richardson asserted.     

Imperialist Women and Conservative Activism in Early-Twentieth-Century Britain: the political world of Violet Milner

While elite women's imperialist activism in early-twentieth-century Britain is now well recognised, little attention has been paid to how this female imperialism was integrated into broader right-wing politics. The adherence of many right-wing women to a conventionally ‘masculine’ model of empire is also under-researched. This article explores the connections between imperial and wider right-wing politics, the new forms of Conservative activism for women they generated, and the ‘masculinist’ gender model of this imperial Conservatism, through an investigation of the political life of Violet Milner (1872–1958). It emphasises the impact of the South African war in forming imperial ideologies which influenced attitudes to ‘domestic’ as well as imperial politics; highlights the degree to which elite women participated in the campaigns of the Edwardian radical right over tariff reform, national service and Ulster, and in the interwar ‘diehard’ campaigns over India; and traces the enduring influence of turn-of-the-century imperial attitudes into the post-war era as demonstrated by her revival of the ‘Milner religion’ and her editorship of the National Review.     

The ‘Wrongs’ of Women: Sex and Sexuality in Irish American Women's Writing

A key trait distinguishing the writing of Irish American women from that of their male counterparts is a strong feminist bent often expressed in stories featuring sex and sexuality. In ignoring these characteristics, Irish studies scholars have disregarded a trait established by Irish women writers in oral traditions as early as 600 and in written English since 1685. Much of this material was categorized as the ‘Wrongs of Woman’, a phrase used to describe stories about physical and sexual abuse. These same themes can be traced in the writing of Irish American women since the late nineteenth century. By focusing on these ‘wrongs’, Irish American women have not only carried on the tradition begun by their foremothers; they have also battled patriarchal bonds on three fronts: religion, which created such bonds; society, which reinforced them; and politics, which tries to recreate and re-impose them. A complete understanding of Irish American writing therefore depends on recognizing and adding the contributions of these women to the definition of the literature. This essay defines that cohort, then provides a historically contextualized examination of their literary attempts to address the ‘wrongs’ of women inflicted by religion, society and politics from 1899 to the present. In so doing, this discussion demonstrates the role played by Irish American women writers in promoting, protecting and perpetuating the rights of women in the United States and around the world.     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

An echo in France of the British women’s suffrage campaign

ABSTRACT

The reputation of the suffragettes and the Pankhurst family in France was often considered to be too militant for the French journal La Française. This feminist journal praised the suffragettes whilst keeping a distance from such ‘trouble-makers’. This was a complex acceptance. In particular, from 1912, when some suffragettes engaged in violent tactics, the journal began calling for non-violent actions. After the Representation of the People Act was passed in 1918, La Francaise waited ten months to rejoice in this news. Now it began to suggest that British women were showing French women how to win their own enfranchisement, which was not granted until 1944. A few weeks before the 1928 Equal Franchise Act, the journal praised more and more Emmeline Pankhurst's radical spirit. This article suggests that the British suffragette movement had an influence on the women’s suffrage campaign in France although often in complex and contradictory ways.     

Structures of feeling: contemporary research in women’s film and broadcasting history

ABSTRACT

This special issue is the second volume originating from the ‘Doing Women’s Film and Television Histories III’ international conference held at the Phoenix Cinema, Leicester, England, in May 2016. It connects with concerns and questions of women’s production histories related to the constructed nature of history and how we write a ‘history from below’ to foreground the hidden, marginalised or forgotten histories of our women ancestors. This collection captures something of the dominant ‘structures of feeling’ of women’s film and broadcasting history scholarship in the contemporary period ranging from considerations of women working in both above and below-the-line roles in film, television and radio, to those whose labour fell outside of mainstream cinema production, as in the instance of the amateur film in the UK between the 1930s and 1980. Together, these case studies span from 1926 to the contemporary period, providing particular flashpoints of women’s history across the UK, North America, Italy and Australia.     

‘Religious virtuosi’ and charismatic leaders. The public authority of mystic women in nineteenth-century Italy

ABSTRACT

This article analyses the fama sanctitatis of three mystic women who lived in Italy in the nineteenth century. Through their exceptional phenomena, they earned celebrity and notoriety, becoming charismatic leaders in their communities. These women had an impact on contemporary society by providing innovative models. For the nuns locked in monasteries, Maria Rosa Serra (1766-after 1806) was a model of an active nun. To the ‘angels of the hearth’, Elisabetta Canori Mora (1774–1825) proved that holiness could also be achieved in the domestic sphere. In contrast to the image of the secluded virgin, Maria Domenica Lazzeri (1815–1848) was a model of the ‘victim souls’ in a semi-public place. The analysis of these women allows us to learn more about the charismatic power in the construction of religious celebrities; the women’s role in the nineteenth century; the creation of new models and the autonomy granted them by the Church.