Apostolic Minds and the Spinning House: Jane Ellen Harrison and Virginia Woolf's Discourse of Alterity

Jane Ellen Harrison (1850–1928) and Virginia Woolf (1882–1941) are two of the most iconic figures in British feminist history whose enduring influence have helped create and sustain a multitude of feminist discourses. Interestingly, both produced their landmark feminist studies in Cambridge when it was, arguably, the most aggressively anti-feminist institution in Britain at that time. Evidence of the kind of institutionalized disciplinary control Cambridge historically exercised on women can be found in the three Committals books (1823–1894) of the Spinning House (1631–1894) in the University archives. So called because the inmates were given wool to spin, the Spinning House was a penitentiary for young girls who were judged to be compromising the morals of the undergraduates. The Spinning House had its basis in the legal authority of the University which declared ‘That the University by virtue of their Charter sanctioned by Act of Parliament, have an undoubted right to cause the Public Street to be inspected, and loose and disorderly women to be taken up and sent to the Spinning House or the house of correction’. Against the background of the culture encapsulated by the Spinning House, women academics, in the late nineteenth and early twentieth century, were making tremendous efforts to bring about intellectual equality. And though the two—the spinner and the woman student—occupied mutually exclusive spaces, they were nevertheless held on the margins of the power structure that produced both. This paper examines the socio-historical context and the puritan intellectual politics of Cambridge against which feminist theories of Harrison and Woolf were produced to identify some of the methods with which they negotiated masculine orthodoxy and structured their feminist discourse of alterity.     

The mother's house of the San Francisco Zoo: the art of engendering space in the modern city

The Mother's House of the San Francisco Zoo opened in 1925 as a sanctuary for women visiting the grounds, and in the 1930s, was ornamented through an ambitious decorative program sponsored by the Public Works of Art Project. The program consists of long-overlooked murals painted by Helen Forbes (1891–1945) and Dorothy Pucinelli (1901–1974), and large-scale mosaics executed by the Bruton sisters—Margaret (1894–1983), Esther (1896–1992), and Helen (1898–1985). While the Mother's House could be interpreted as symbolizing a gilded cage that restricted woman's agency within the modern city, it can also be read as expanding women's roles in the public sphere. My article examines the Mother's House as a case study of the gendering of space wherein the site served not to inhibit woman's movement and participation in the modern city, but rather expanded the feminine realm beyond the domestic sphere, as well as supported the professionalization of women as public artists.     

At Home with the Women's Guild of Arts: gender and professional identity in London studios,c.1880–1925

This article explores a recently discovered archive, pertaining to the Women's Guild of Arts, in order to deepen understanding of the ways middle-class women, working in the fine and applied arts, constructed artistic identity in London, c.1880–1925. The Women's Guild of Arts was formed as women artists were not allowed to join the Arts and Crafts male-only Art Workers' Guild. Analysis of the Women's Guild of Arts archive, alongside the personal memoirs of members of the Guild, show the importance women artists placed on the acquisition of studios, and the significance of studios in building a professional network of female sociability and artistic contacts. Analysis of a sample of studios belonging to Guild members develops knowledge about how professional identity was achieved, and mediated, by women artists. The archive provides the opportunity to consider how both singular, and collective, studio activity was gendered. It reveals the persistent concerns members had about the appropriate use of space in their quest for professional status and examines their views on drawing rooms, exhibitions, male-only spaces, and their adapted use of At Homes in their studios.     

Olive Banks (1923–2006): an appreciation

This Appreciation of Olive Banks (1923–2006) draws upon her memoir published in Women’s History Review, Vol. 8, No. 3, 1999, pp. 401–410, and upon the author’s recollections of and correspondence with her. Born into a solidly working‐class family, Olive Banks overcame the disadvantages of her social class background and gender to become an internationally recognised Professor of Sociology, well known for her contribution to the developing field of the sociology of education and especially for her pioneering work on the history of feminism. Her contribution to women’s history was important at a time when the discipline was developing as an academic field of study in higher education in the 1980s in the USA and Britain.     

Some Personal Reflections on the Foundation of the International Federation for Research in Women’s History in 1987: a message sent to the participants of the twentieth anniversary conference,held in Bulgaria, 2007

This article is a greeting sent to the participants in the International Federation for Research in Women’s History (IFRWH) Conference in Sofia, Bulgaria, 8–12 August 2007. The author looks back to the establishment of the IFRWH in 1987, of which she was Co‐founder, tracing the contacts, correspondence and meetings that led to that moment. Attention is also drawn to the first conferences in Bellagio, Madrid, Bielefeld and Montreal, as well as to the Newsletter activities that served to connect all the national committees that make up the Federation. The story told is one of friendships and inspiring moments. It ends with hope for the continued importance of the IFRWH to global women’s and gender history.     

The agrarian question in Peru: Some observations on the roads of capital

Under the military governments of Velasco (1968–75) and Morales Bermùdez (1975–80) one of the most important agrarian reforms of South American history took place in Peru. According to Alain de Janvry [1981] this reform involved a shift from a junker‐road to a farmer‐road toward the development of capitalism in Peruvian agriculture. In the first part of this study de Janvry's approach to the ‘agrarian question’ and his evaluation of the Peruvian reform will be discussed. It will be argued that he overestimates the importance of farmer‐type capitalism and pays too little attention to the cooperatives established during the reform. Focusing the discussion on the co‐operatives in the coastal region it will be argued that these enterprises can be understood, to an important extent, as a form of simple commodity production. In the final part of the article a case study of the cotton producing co‐operatives in the province of Ica will be presented.     

The Room and the Street: Gwen John’s and Jean Rhys’s Insider/Outsider Modernism

The modernist city is commonly thought of as a city of exteriors; we envision the ‘spaces of modernity’ as sites of industry or leisure, and apply the very notion of the ‘urban’—urban planning, urban studies—to the way we approach public spaces. But by reading together the paintings of Gwen John (1876–1939) and the writings of Jean Rhys (1890–1979), we discern a different modernist story than we are used to hearing—one that collapses divisions between the room and the street, the private and the public. By focusing on tropes of rooms in their works, the author seeks to nuance our understanding of John’s and Rhys’s relationship to community from within the supposed safety or isolation of their interior rooms, and argues more broadly for a women’s modernism of the city that collapses divisions between the room and the street, the private and the public. These two figures, who are usually read as ‘outsiders’ to mainstream modernist culture, produce a distinct ‘insider/outsider’ aesthetic which reveals them to be working not outside, but at the very heart of modernist experimentation.     

What Not To Wear: Islamic Dress And School Uniforms

In this appeal the House of Lords held that a school’s refusal to change its school uniform rules to accommodate the religious beliefs of one of its pupils did not constitute an interference with freedom of religion and the right to an education. This note asks whether the House of Lords by framing the issue as a matter of individual choice and informed consent may have underestimated the potential for social harm inflicted by a school’s unwillingness to accommodate certain types of religious beliefs where it has already adapted its school uniform rules for others. R (on the application of SB) v. Governors of Denbigh High School [2006] UKHL 15; [2006] 2 W.L.R. 719; [2006] 1 F.C.R. 613     

activist-mothers maybe,sisters surely? Black British feminism,absence and transformation

This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, affording a nurturing of alterity through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women’s theorising as a crucial component of the methodological métissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence.     

A pivotal role? The AFL–CIO and the 2008 presidential election

This article explores the role that organized labor played in the landmark presidential election of 2008. In particular, it explores the work of the American Federation of Labor–Congress of Industrial Organizations (AFL–CIO), which ran its biggest ever election campaign in 2008, spending upwards of $250 million. While there is a vibrant emerging literature on the election, particularly from political scientists and former reporters, labor’s role in the story has been largely overlooked. Drawing on new parts of the AFL–CIO’s papers, as well as interviews with key staffers and federation leaders, this article highlights the important – and overlooked – role that labor played in putting Barack Obama into the White House. Especially important were its extensive efforts to educate – and pressure – white members, many of whom had backed other candidates during the Democratic primaries, to support Obama. Indeed, the Washington Post asserted that union members played a ‘pivotal role’ in Obama’s victory, especially in terms of delivering the white vote. It was a conclusion largely supported by exit polls, which showed that white union members were much more likely to support Obama than whites who were not in unions. The article highlights that despite the decline in union density – by this time only about 12% of American workers belonged to unions, compared to 35% in the 1950s – the labor movement retained considerable political influence, chiefly because of reforms carried out by AFL–CIO President John J. Sweeney. While Obama was unable to fulfill many of the expectations generated by his campaign, the story of labor and the 2008 election is an important one in its own right, showing that contemporary labor could still be a powerful and constructive force.     

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.     

Reviews

The Absence of lzanagi By Kei Takei Performed at La MaMa E.T.C., New York June 22–25, 2000

Otome Bunraku performs two Japanese classics Japan Society, New York September 13–16, 2000

Towa—Part I—Kanojo (Eternity—Part I—She) By Kishida Rio Performed at Kinokuniya Southern Theatre, Tokyo August 31‐September 9, 2000

Toothless By Kazuko Hohki Performed at Battersea Arts Centre, London June‐July 2000

Hagi‐ke no San‐Shimai (Three Sisters of the Hagi Family) By Nagai Ai Performed at Theatre Tram, Setagaya Public Theatre, Tokyo November 4–19, 2000

Women's Gidayū and the Japanese Theatre Tradition. By A. Kimi Coaldrake. 1998. London and New York: Nissan Institute, Routledge Japanese Studies Series. Xxix+262. With nine‐track CD.

Takarazuka: Sexual Politics and Popular Culture in Modern Japan. By Jennifer Robertson. 1998. University of California Press, Japan. Xvi+278.

Angura: Posters of the Japanese Avant‐Garde. David G. Goodman. 1999. New York: Princeton Architectural Press. Viii+91.

About Face: Performing Race in Fashion and Theater. By Dorinne Kondo. 1997. New York and London: Routledge. xiii +277.     

The Faux Debate in North American Suffrage History

The history of the US women’s suffrage campaign in the twentieth century has often devolved into a debate about whether mainstream politics or militant agitation won the day. This article argues that this division—between those who credit Carrie Chapman Catt and her pragmatic approach and those who trumpet Alice Paul for her campaign of White House protests—is a faux debate. A reading of American history suggests that any political movement for social change—from civil rights to LGBTQ rights—requires a one-two punch. The inside politico engages the powers that be, courting sympathy, while the outside agitator throws rocks at the establishment’s gates, stirring fear about the risks of inaction. The coming centennial of the nineteenth amendment’s ratification offers an opportunity to assess whether this scholarly battle over credit is anything more than a historical distraction, and to lament the missing veins of scholarship lost in its gaze.     

Eve Drewelowe: feminist identity in American art

Eve Drewelowe (1899–1988) was an American artist who attended the University of Iowa, where she received a BA in Graphic and Plastic Arts in 1923. During these early years when university art programs were being established, Drewelowe became the first person to receive an MA in art from the University of Iowa; one of the first people to receive such a degree in the United States. Drewelowe reinvented herself throughout her life and her artwork reflects a current knowledge of modern styles that emerged in the twentieth century. Drewelowe exhibited under the name Eve Drewelowe Van Ek shortly after her marriage in 1924 until the early 1950s, when she chose to resume using only her own surname. During the three intervening decades, her signature varies from one artwork to the next. In some instances, the artist later rubbed out or painted over the ‘Van Ek’ with little attempt to conceal the change, leaving a visual indicator of the artist's identity struggles. Her personal papers also reflect the challenges she faced reconciling public expectations of her role as the wife of a university dean with her profession as an artist. This essay considers the ways Drewelowe performed her identity as an artist in order to maintain her personal autonomy against the backdrop of the male dominated social and artistic world.     

The defiant still worker: Ramiro Gomez and the expressionism of abstract labor

This essay looks at a selection of paintings by Los Angeles-based visual artist Ramiro Gomez. Departing from the traditions of ethnic studies and Marxist criticism that focus on workers’ resistance as action, I turn to the domestic worker, who remains still and perpetually at work, in his paintings. I propose that stillness is both an abstract aesthetic form and a racialized and feminized mode of being abstract and not fully knowable to both spectators and employers. Stillness, I argue, is the limit to following the worker’s subsequent actions, movements, thoughts, and expressions. While, for Marx, abstraction is the very effect and violence of the capitalist production, I ask what possibilities emerge from a mode of stillness that further abstracts, displaces, and obscures the worker within the scene of domestic labor. Bringing together Marx’s analysis of abstract labor, the tradition of abstract expressionism, and Chicana/o aesthetic practices in Gomez’s paintings, I offer a theory of stillness, and by extension abstraction, as a subtle yet defiant refusal to be concrete and graspable.     

Tracing two generations in twentieth century Indian women's education through analysis of literary sources: selected writings by Padmini Sengupta

ABSTRACT

This article uses literary sources written by Padmini Sengupta, 1906–1988 (daughter of Kamala Satthinadhan, 1880–1950, educator, writer, and editor of the Indian Ladies’ Magazine) to map two generations of women in India from reformist backgrounds and their education and writing. Padmini's biography of her mother, The Portrait of an Indian Woman, 1956, is analyzed at length. Here, Sengupta offers at once a memoir of her own growing years and a biographical portrait of her mother Kamala Satthianadhan. Supplementing this analysis is an examination of how women's education is represented in Sengupta's novel Red Hibiscus, 1962. Padmini wrote many works of a non-fictional and biographical nature. In analyzing her writing, we also understand better how Indian women writers representing their own educational trajectories in the print and public sphere shortly after Indian independence lay the groundwork for the later development of women's history and Women's Studies in India.     

The historical understanding of female premodern possessions. Problematizing some gender assumptions in the historiography on Teresa de Ávila and Jeanne des Anges

ABSTRACT

This paper discusses how to approach the history of female possessions today. By analyzing some recent contributions applied to two well-known historical figures: Teresa de Ávila (1515–1582) and Jeanne des Anges (1602–1665), I will problematize some of the ongoing history of female possessions. I intend a reflection on two of the current conceptual frameworks that feature the way history explains the subjective experience of these premodern possessed individuals. I focus on two kinds of interpretation: one I call the ‘neurotic’ interpretation, and the other the ‘subversive’ interpretation. Both constructions underpin explanations of women’s divine and demonic possessions, involving historiographical gender prejudices and ahistorical assumptions.     

Politics and culture in a Diva's diversion: The body of Astrid Hadad in performance

Performance

Song of Lawino. Directed by Valeria Vazilevski and choreographed by Ja‐wole Willa Jo Zollar. Aaron Davis Hall, City University of New York, New York, January 5–8, 1989.

Abingdon Square. Directed by Irene Fornes. American Place Theatre, New York, 1988.

The Kathy &; Mo Show: Parallel Lives. Written and produced by Kathy Najimy and Mo Gaffney. Westside Arts Theatre, 1989.

Annulla, An Autobiography. Written and Directed by Emily Mann, performed by Linda Hunt. TNT (The New Theatre of Brooklyn), New York, October‐November, 1988.

The Warrior Ant. Written and directed by Lee Breuer; music composed by Bob Telson. Brooklyn Academy of Music, Next Wave Festival, October 19–30, 1988.

Go Between Gettysburg. Written, directed and designed by Linda Mussmann, in collaboration with Claudia Bruce and composer Semih Firincioglu. Theatre of the Riverside Church, New York City, November 10–20, 1988.

Mary Surratt. Written, directed, and designed by Linda Mussmann, in collaboration with Claudia Bruce; music by Semih Firincioglu. Time &; Space Limited production. New York, 1988.

Elizabeth Streb. Dance Chance series, Dance Theatre Workshop, New York, January 4–8 and 11–13, 1989.

Books

Dance, Sex and Gender: Signs of ‘Identity, Dominance, Defiance and Desire, by Judith Lynne Hanna. Chicago: University of Chicago Press, 1988 ($15.95 paper).

The public forum

Sexist Images in Women's Performance. Performances by Jerri Allyn, Ellen Fisher and Dancenoise, and Panel moderated by Peggy Shaw. Movement Research, New York, December 19, 1988.

The Edinburgh Fringe Festival. Edinburgh, Scotland, 1988.

Plenty Money, by Pat Kaufman; Men, Women and Margaret Fuller, by Laurie James; “An Evening of Dance: Karen Bernard, Jean Churchill and Joanna Zubaty”; “Readings by Sonia Taitz,” Women &; Performance Events Series, produced by Katheryn Kovalcik‐White. Tisch School of the Arts, New York University, June‐December, 1988.     

Using the mass-observation archive as a source for women's studies

Playing the violin in Japan was pioneered by women. The first Japanese to study the violin abroad were Kôda Nobu (1870–1946) and Andô Kô (née Kôda, 1878–1963). Both taught at the Tokyo Academy of Music (now Tokyo University of the Arts) after their return. Kôda later opened a piano studio. The article describes their lives and careers and shows how their Western expertise gave them unprecedented opportunities while their gender imposed limitations. It discusses the sisters' role in the transmission of Western music to Japan in the context of Western as well as Japanese preconceptions about appropriate musical roles for women.