Butches and nomads: The dynamic imperative in feminist theory

Abstract

In this essay, a critique on the blatant dynamic imperative in contemporary feminist theory is presented. In Judith Butler's Gender Trouble (1990) and Rosi Braidotti's Nomadic Subjects (1994), the theoreticians project a feminist subject of heroic proportions: dynamic, active and subversive. Theoretically, this dynamism can be traced back to Nietzsche's tragic thinking. But what has become of Nietzsche's meditation on death, decay and destruction as necessary preconditions for any creative thinking? By insisting on frantic activity as a strategy to effect sexual difference, Butler and Braidotti have foreclosed the possibility for passivity, receptivity and silence as alternative strategies to think this crucial question.     

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.     

With you but different: Jouissance and feminist writing

In this article the notion of jouissance as a vehicle for constructing embodied female subjectivity is introduced. Both Luce Irigaray's and Rosi Braidotti's ideas about female subjectivity are reflected against psychoanalytical theory. Although their standpoints are quite different, what they have in common is the re‐essentialization and the nomadic (mobile) nature of female subjectivities. This radical construction can be further developed with the aid of jouissance, which in this article is cut out from its psychoanalytical roots. It is argued that feminist writing which connects jouissance and the creation of subject positions for women in scientific discourses is not a totalitarian discourse but a pleasurous between‐area which connects bodies and texts. It allows space for differences, a space for I and You.     

urban spaces: gender,genre, mediation

After an initial period of feminist theorizing concerned with understanding patriarchy as a structure of male domination, many thinkers turned away from theorizing domination as such and focused instead on women's (constructed) subjectivity, identity, and agency. While this has fostered important insights into the formation of women's preferences, desires, and choices, this focus on subjectivity and subject formation has largely overshadowed deeper understandings of patriarchy as a structure of male domination while producing elisions between agency and freedom. In this article, I move to show how domination as a structural concept can help us to reclaim the idea of ‘patriarchy’ as a source of women's systematic oppression while freedom as non-domination, derived from early republican conceptualizations of freedom, can help us to disambiguate freedom from agency by taking as central the relative positions of actors within social and political structures. Structural freedom as non-domination is thus useful for feminist thinkers in that it gives us critical purchase on the dynamics inherent in unequal social and political relationships and can be linked clearly to the institutions and ideologies that shape and justify interactions between more powerful and less powerful groups. Further, from this point of view intersecting structures of domination can be analysed rather than intersecting identity categories, allowing us to take intersectionality into account and avoiding the need to ground feminist action on a unitary ‘category woman’. Finally, this analysis points toward the radical democratic connexion between freedom and participation in the creation of the material and symbolic structures that frame our collective lives.     

The sacred may not be the same as the religious: Angela Carter's ‘Impressions: The Wrightsman Magdalene’ and ‘Black Venus’

John Everett Millais's painting The Bridesmaid (1851) depicts a young woman, on the evening of a wedding, attempting to conjure up a vision of her own future husband. This work has been linked to a number of others by Millais dealing with marriage, and has been seen as an articulation of 'matrimonial ideology'. Brown sets the picture in the context of the widespread, though clandestine, practice of fortune-telling, through which women in particular attempted to foreknow, and thus control, the central event of their lives. One of the most frequent questions asked of fortune-tellers was 'whom shall I marry?', the question the girl in the painting has herself asked. However, drawing on recent critical work on 'proposal composition' pictures, Bown argues that men, too, faced great uncertainty on the brink of marriage, and that artists repeatedly explored this uncertainty through attempts to represent a complex female subjectivity in their works. In The Bridesmaid Millais (who was thinking about marriage in the early 1850s) depicts a woman telling her fortune, but he also seeks to represent her as full of thoughts and feelings. The artist, and the viewer of the painting, then, engages in an act of divination in which he tries to discover the mysterious secrets of female subjectivity.     

Interrogating the Look of the Gaze: Theorizing a Latina Cine-subjectivity

Abstract: This article concerns sexual object choice, transgender subjectivities and emancipatory heterosexuality as imaged in three films: The House of the Spirits (1993), I Like It Like That (1994) and Mi Vida Loca (1994). The author argues, through her examination of the three films, for cinematic ways to refocus and interrogate the look and gender of the gaze, thereby envisioning what the author theorizes as a Latina cinematic subjectivity. The idea of a Latina cinematic subject is presented in order to articulate how at particular moments in the films an autonomous Latina subjectivity is created through narrative and mise-en-scène. It is at these narrative and aesthetic moments that the characters look back at the objectifying gaze, thereby creating a cinematic sexual subjectivity for the characters and a model of agency for the culturally resistant spectator who is doing the looking. The House of the Spirits points to the contradiction of sexual object choice and female desire; I Like It Like That reveals the performative and fluid possibilities of gender, as well as the hybridity of black and Latino cultures; and Mi Vida Loca reflects the struggle for agency in Chicana heterosexual relationships and in their material lives. The author argues that the three portrayals begin important cultural work in the rethinking of sexualities, as they unthink the rigidity of monosexuality, destabilize normative conceptions of gender and reinvigorate agency and egalitarianism in heterosexual relations.     

Everything will be in order

The late eighteenth and early nineteenth centuries represented a period of new conceptual theorizations of “woman” both in the sphere of biological discourse and in literature and philosophy. My focus in this article is on how G.W.F. Hegel constructs gender identity and gender difference philosophically and conceptually. I argue that although the concept “gender identity” was not part of nineteenth‐century vocabulary, Hegel does in fact construct gender difference through a conceptual differentiation between reflexive self‐differentiation and undifferentiated identity constructed as a “difference from difference”. This fundamental logic of gender difference is apparent both in the sphere of Hegel's natural philosophy, in bodily differences between male and female bodies, and in the sphere of social life, in the differentiated spheres of action Hegel prescribes for men and women. Behind both the female body and the position of women as belonging to only one domestic sphere of action lies for Hegel the undifferentiation of spirit, the incapacity to active self‐differentiation and divided or “torn” self‐consciousness. The male body and the position of man as citizen, in contrast, are described by Hegel to be determined by their inner and outer negativity, struggle, and differentiation.     

The Functions of Class at the Present Time: Including Taste,or Sex and Class as Culture

Gagnier provides an analytic account of current uses of gender, sex and sexuality, and of class as objective condition, role, identity, subjectivity, performance, product of cultural formation, pain and pleasure. She concludes that we shall do better today to take from the history of political economy a focus on the division of labour, the kinds of work people do, including women's unpaid labour at home, and the ways that work structures identity and subjectivity, than on more abstract class identity (e.g. wage-labourers and capitalists), and to see that both local and global divisions of labour or work patterns are along race and gender lines as much as along class lines. The introduction of consumption models of taste and status draws together both class and gender, for consumption and leisure, the realm for most wage-labourers of pleasure, is as significant in the formation of identity and subjectivity as work, production or pain. We should account for people's pleasures and desires as well as their pain and place in narrowly conceived 'productive' relations. Class is no less significant than it always was, but future work should disaggregate the concept along these lines, mindful of gender salience in the division of labour and the reproduction of class. And it should include critical analysis of the realms of taste, pleasure, consumption, leisure and status.     

Eileen Power's Asian journey, 1920-21: history,narrative, and subjectivity

Abstract

This article analyses the travel writings of the British medieval historian, Eileen Power (1889-1940), during her year-long journey around the world in 1920-21 as the first and only female awarded a travel fellowship administered by the Trustees of the University of London in the years following the First World War. Drawing upon a comparative reading of her official Report to the Trustees and her private diary record of her ‘Tour du Monde’, we examine the various dimensions of subjectivity and identity evident in her narrative of the journey, interrogating the difference which gender makes in the relationship of European travellers to empire. In addition, we examine how the narrative of her journey and subsequent historical narratives were part of those Orientalist forces/discourses which produced and were produced by the West's relationship to the East in the first half of the twentieth century.     

Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema

Walter Benjamin's signature hypothesis of 'dialectics at a standstill' rehearsed in his 'Theoretics of Knowledge, Theories of Progress' permits visual images to be elasticized from a then condition in history and culture to a now site of contemporary reality in order to be critiqued in their entirety. Putting this hypothesis to the test, Rajan juxtaposes two late eighteenth-century works of art by East India Company Painters with two late twentieth-century films by Mira Nair and Deepa Mehta to trace trajectories of orientalized desire and unspeakable pleasure as relayed along a woman's body. In all four instances, the central image of woman continues to be an insistent signifier that embodies social values, cultural prejudices and artistic ideals, which, in turn, provide critical, valuable insights into constructions of gendered, aestheticized and sexualized femininity. The image of woman , thus dialectically read, reveals that it is not simply the male colonizer who is always already the oppressor, as is the common assumption, but rather that woman as an abject signifier can be merchandised even by enlightened, postcolonial women. Such a ravaged image of woman remains, therefore, a fixed trope in the hands of male and female artists, traversing coloniality and postcoloniality, and crossing over from art to cinema, with little chance of emancipation. One strategy to grant woman full agency requires the contemporary, feminist viewer to take responsibility and couple aesthetics with an ethical tenor. According to Benjamin, ethics thus defined is a matter of personalized aesthetics. This means that each one of us is entrusted with the responsibility of demanding accountability in the creation of visual culture such that images that demean femininity, disembody female subjectivity, objectify female pleasure and delegitimize desire be judged inappropriate, as incorrect or unappealing visual images and as unavailable for appropriation.     

the contradictory simultaneity of being with others: exploring concepts of time and community in the work of Gloria Anzaldúa

While social geographers have convincingly made the case that space is not an external constant, but rather is produced through inter-relations, anthropologists and sociologists have done much to further an understanding of time, as itself constituted through social interaction and inter-relation. Their work suggests that time is not an apolitical background to social life, but shapes how we perceive and relate to others. For those interested in exploring issues such as identity, community and difference, this suggests that attending to how temporal discourses are utilised in relation to these issues is a key task. This article seeks to contribute to an expansion of the debate about time and sociality by contributing an analysis of a variety of ways in which Gloria Anzaldúa utilises temporal concepts as part of her work of rethinking social identity and community. In particular, I suggest that in contesting homogeneous identity, Anzaldúa also implicitly contests linear temporal frameworks. Further, in creating new frameworks for identity, I suggest the possibility of discerning an alternative approach to time in her work that places difference at the heart of simultaneity. I suggest that the interconnection between concepts of time and community within Anzaldúa’s work indicates, more broadly, that attempts to rework understandings of relationality must be accompanied by reworked accounts of temporality.     

'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.     

Identity Profiles in Lesbian, Gay, and Bisexual Youth: The Role of Family Influences

Sexual identity development is a central task of adolescence and young adulthood and can be especially challenging for sexual minority youth. Recent research has moved from a stage model of identity development in lesbian, gay, and bisexual (LGB) youth to examining identity in a non-linear, multidimensional manner. In addition, although families have been identified as important to youth’s identity development, limited research has examined the influence of parental responses to youth’s disclosure of their LGB sexual orientation on LGB identity. The current study examined a multidimensional model of LGB identity and its links with parental support and rejection. One hundred and sixty-nine LGB adolescents and young adults (ages 14–24, 56 % male, 48 % gay, 31 % lesbian, 21 % bisexual) described themselves on dimensions of LGB identity and reported on parental rejection, sexuality-specific social support, and non-sexuality-specific social support. Using latent profile analysis (LPA), two profiles were identified, indicating that youth experience both affirmed and struggling identities. Results indicated that parental rejection and sexuality-specific social support from families were salient links to LGB identity profile classification, while non-sexuality specific social support was unrelated. Parental rejection and sexuality-specific social support may be important to target in interventions for families to foster affirmed LGB identity development in youth.     

Catherine Breillat's Romance and Anatomy of Hell: Subjectivity and the Gendering of Sexuality

French filmmaker Catherine Breillat has consistently challenged viewers to consider the ways women negotiate sexual freedom in light of numerous forces of repression. This essay considers how Breillat's depiction of women's sexuality in Romance and Anatomy of Hell simultaneously evokes abjection and empowerment. Specifically, we consider Breillat's contrast between her female protagonists and male protagonists, her treatment of women and their bodies as infused with desire yet struggling towards sexual subjectivity, and the avenues available to women to define themselves outside of hegemonic masculinity. We argue that Breillat's provocative portrayals provoke consideration of the problems inherent in hegemonic female sexuality while also offering hopeful alternatives to sexual expression, sexual freedom, and changing definitions of power and pleasure.     

Sexual frigidity: the social construction of masculine privilege and feminine pathology

This study examines how mid-twentieth century physicians used the term ‘sexual frigidity’ to disempower women. Conceptualizing medical texts as accounts, I focus on how medical authors saw, described and explained sexual frigidity from the 1930s to the 1960s in both scientific writings and in those aimed at the general public as sex guides, marriage manuals and advice columns. The study concludes, that behind the pretext of treating a woman’s frigidity, psychiatrists and gynecologists, using the language and theoretical structures of psychoanalysis, constructed a narrative in which ‘normal’, non-frigid women always see their man through a lens of unlimited patience, tenderness and altruism. Their attitude is always welcoming, joyous, and worshipful. By contrast, women defined as sexually frigid see their man through a lens of bitterness and resentment, an attitude which reaches its apotheosis during the man’s attempts to engage them in intercourse. Through the frigidity narrative, mid-twentieth century physicians managed to pass judgment, not only on women’s sexuality, but on their autonomy, their character, and the success or failure of their marriage: they are to blame when their husband leaves them for another woman; they are to blame when their husband is impotent; and they only have themselves to blame if they are unable to function in a sexually ‘healthy’ way. The discourse that seemed preoccupied with a woman’s genitals, with their feelings and contractions, was also interested in a woman’s heart, her intentions and activities, with particular emphasis on how she performed as her husband’s housekeeper and companion. There was scarcely an attitude, feeling, or interpersonal activity known to women from which mid-twentieth century physicians did not impute some connection to frigidity.     

Ada's Piano Playing in Jane Campion's The Piano

Since the late eighteenth century, when the piano first became available for the private home, numerous female characters in literature have demonstrated their skill on the instrument. In nineteenth-century British novels, the prevalence of piano-playing women reflected the contemporary social expectation that middle-class women display some level of competence on the instrument. Yet representations of women pianists in twentieth-century films such as Jane Campion's The Piano (1992 Campion. Jane, dir . The Piano . Australian Film Commission/CiBy 2000/New South Wales Film and Television Office , 1992 .  [Google Scholar]) reflect a persistent Romantic fascination with women's piano playing as a means of expressing authentic inner emotion, especially sexual passion. In this paper I provide an overview of existing historical scholarship on the significance of the piano in nineteenth-century British and colonial culture. In light of this cultural history, I examine Campion's feminist reworking of the Romantic ideal of the artist. Judith Butler's model of performative subjectivity enables us to see the constructed nature of the Romantic ideal of individual self-expression as deployed in The Piano. In Campion's film, Ada's pianistic performance functions as a literal metaphor for the constitution of her subjectivity in the Butlerian sense. Moving beyond a critique of the Romantic model of artistic self-expression, however, I read the central violent conflict of the film as a specifically Victorian collision between genteel feminine and Romantic models of musical performance, the locus of which is the body of the piano-playing woman—Ada.     

Barbara Leigh Smith Bodichon's Travel Letters: performative identity-formation in epistolary narratives

Barbara Leigh Smith Bodichon was a mid-nineteenth-century feminist, philanthropist and painter. This article examines Bodichon the female traveller as a way of discussing the process of identity-formation in letter-writing. It proposes reading letters through the lens of Judith Butler's theory of gender (1990). Following her concept of performativity, letter-writing is conceived as a performative act of identity-formation. The article argues that, conditioned by the addressee she wrote to, Bodichon gave written expression to her subjectivity in her travel letters via her epistolary persona. This autobiographical gesture acted as one means through which she constituted her identity as a female traveller. In turn, drawing on Butler's notion of subversive repetition, the article concludes that the resulting multiple epistolary ‘I's Bodichon developed in accordance with each of her addressees permitted her to venture into her subjectivity as a female traveller—ultimately prompting her epistolary challenge of normative codes.     

Heteroqueer ladies: some performative transactions between gay men and heterosexual women

As theories of performativity struggle to disentangle and reconfigure the relationships between act and identity, a heterowoman who relishes the performance of femininity is still aware that she can be read as reactionary. Her choice of sexual partners seems to undermine the efficacy of similar strategies constructed by femme lesbians. One queer option for a heterosexual woman is to ‘act’ like a gay man. As more than one cultural commentator has pointed out, it appears that only a male drag queen can be a ‘lady’ these days. This particular woman does not want to change her biological sex to ‘be’ a gay man. She has learned how to be a ‘lady’ from the ‘feminized fags’ who may have learned from her mother. Their ironic distancing, camp connoiseurship, and parodic appropriation of the notion of a stable gender identity came as part of the package. As a result of this transaction, she acts as if she has balls under her dress. Such mimetic masquerades can be most easily recognized as resistant when performativity is ‘bound’ into a formalized performance. It is implicit that this artifice is not sustainable, nor is this desirable. ‘Doing’ queer means possessing the agency to defy and destabilize gendered behaviours, sexes, and sexualities through continuing and conscious decisions. This article explores the efficacy of heterosexual femme performances that attempt to challenge and subvert ideological normativities through their transactions with gay men.     

Bedtime

In a review of the responses to British artist Tracey Emin's exhibition of her own bed as an artwork nominated for the 1999 Turner Prize, Merck considers it as a figure of the personal trauma said to be constitutive of subjectivity in the decade. Reviewing theorists of the period including Hal Foster, Marc Augé and Wendy Brown, she considers the artist's work as an illustration of individual isolation assuaged by narcissism. Must the woman artist function as the victim of her own cult of celebrity? In the ensuing months since her nomination, Emin's changing circumstances suggest that other fates- and other histories- may be possible.