Rhythms of resurrection: The comebacks of Ruth St. Denis

Ruth St. Denis (1879–1968) had one of the first and longest careers as a professional modern dancer. At age 62, she embarked on a “comeback” that lasted nearly three decades, appearing on stage and screen in the dances that had made her an international star earlier in her career. This essay examines the relationship between her well-known “Orientalism,” her feminism, her spirituality, and her perspective on aging and ageism. In particular, it brings into relief her innovative efforts to redefine dance as a feminist project at the intersection of aging and modern dance history. St. Denis converted “oriental tradition” into a feminist dance praxis, thus, staking a claim for the aging dancer under the banner of feminist politics.     

Clare McGlynn and Kelly Johnson: Cyberflashing: Recognising Harms,Reforming Laws

Feminist Legal Studies -     

Poor Maternity: Clare of Assisi's letters to Agnes of Prague

During the first half of the thirteenth century, Clare of Assisi and Agnes of Prague sustained a long epistolary relationship. Clare's part of the correspondence is extant, and reveals much about the intersection of the language of gendered piety and political ambition in this period. This article seeks, in particular, to place Clare's use of maternal imagery within the context of her attempts to build patronage networks in order to support her ambitions to secure the ‘Privilege of Poverty’ for herself and her sisters, the right to live without landed endowments and claustration.     

The Bleak House of Surrogacy: Broidy v. St Helen's and Knowsley Health Authority

This note examines the British case of Broidy v. St Helen's andKnowsley Health Authority in which Margaret Broidy was unsuccessful in anegligence action against the defendant Health Authority following an emergency caesareanoperation in which a hysterectomy had been performed as `essential'. Of particularfeminist interest is the fact that Broidy's claim for, inter alia, the costs of asurrogacy arrangement to be carried out in California was refused on the basis that it wasnot reasonable – the chances of success of the surrogacy arrangement being deemed tooremote. Set within the context of an increasingly prolific number ofworld-wide surrogacy stories, the Broidy decision is analysed as providing a recentillustration of some of the difficult implications of the reproductive option which surrogacyhas now become.     

class and feminine excess: the strange case of Anna Nicole Smith

Cultural concerns about race, class and beauty often intersect with mass-mediated depictions of the female body. Drawing on Foucault's theories about disciplining the public body, this article examines the changing public perception of Anna Nicole Smith from an ideal beauty to a white trash stereotype. This analysis argues that Smith's very public weight gains, her outrageous behaviour and her legal battle for her late husband's fortune is presented in the media as an example of inappropriate conduct for a white beauty ideal and thus is repositioned as white trash culture. Central to this repositioning is the constant tabloid depiction of Smith as an ‘out of control’ grotesque. This article argues that contrary to the optimistic understanding of female grotesques as effective agents of cultural criticism and social change, Smith represents the female grotesque as an agent of cultural control that instructs middle-class women on how to avoid committing classed, racial and gendered transgressions. The article concludes that the case of Anna Nicole Smith functions as a cautionary tale that reinforces cultural standards of normalization.     

The trivialisation of Mary Wollstonecraft a personal and professional career re-vindicated

This paper primarily addresses three points in relation to the distortion of the image of Mary Wollstonecraft and the distortion of her ideas: firstly there is the argument that there has been a sustained and systematic marginalisation and devaluation of Mary Wollstonecraft with the result that her work is neutralised, secondly that this originated with her husband, William Godwin and thirdly that Godwin's distortion have since been perpetuated by all biographers despite the fact that contrary testimony is available.     

The writing on the wall: Beginning or end of a girl's career?

This article draws upon the results of five years annual surveying of language performance of children aged 11 and 15 in the United Kingdom. The theme of the article concerns anomalies in the way literacy values are communicated to pupils in schools. Strong sex-typing is evident in the preferences which pupils express for certain types of writing, with girls appearing to choose the most prestigious forms of reading and writing in school terms. Girls' success in fulfilling school criteria for literary excellence does less than might be expected to advance their career prospects: on the contrary, it is suggested that the process of becoming a good writer at school is part of the general sorting process whereby girls cease to compete in other fields of work and study.     

Fragments from a fading career: Personal narratives and emotional investments

In this paper I aim to document the personal journey by which I became interested in researching issues of sexuality and schooling. Something which has now become an academic quest did not start out as such. Through the use of memory‐work to generate personal narratives, I draw upon incidents from my early career as a teacher as the basis for the recollection and analysis of this personal journey. The article illustrates the ways in which my present research interest is inextricably linked to my biography as a teacher and my political and emotional investments in certain forms of pedagogic practice. Finally, the article suggests that the use of memory‐work can be a productive approach as a method for research and as a mode of analysis.     

Gender,body, and feminine performance: Edna St.Vincent Millay's impact on Anne Sexton

This paper will discuss Edna Millay's influence on Anne Sexton, with particular reference to issues such as gender politics, femininity, performativity, and the female body. Through close comparative readings of some of the two women's most representative poems, I analyze, firstly, how Millay's outspokenness and daring self-presentation as a woman writer facilitated Sexton's handling of material that was previously considered unacceptable for poetry and, secondly, how Sexton expanded the scope of women's writing in a manner that paid tribute to the earlier poet's innovation. My paper maintains that Millay's repeated attempts to explore gender and interrogate the concept of ‘authentic’ femininity anticipated Sexton's overtly feminist works. Ultimately, I am arguing that, despite the literary climate of the 1960s (which urged the rejection of poets like Millay) and despite her own ambiguous feelings for the earlier poet, Sexton eventually recovered Millay as an important literary predecessor for her generation, consistently imitated her artistic posturing, performance strategies, and self-presentation, and finally acknowledged her unique contribution to women's writing.     

Between rock and a hard place: narrating nona hendryx's inscrutable career

Elaborating on the imperialist grasp of rockism, Kelefa Sanneh writes 'There's a place in the Rock and Roll Hall of Fame for doo-wop groups and folk singers and disco queens and even rappers—just so long as they, y'know, rock.' What's striking is how closely Nona Hendryx's career fits within these categories—doo-wop singer, disco queen, rocker—yet, she still hasn't received her due, even within that flawed, proverbial rockist Hall of Fame. Building on Mark Anthony Neal's rich analysis of the proto-disco trio LaBelle and their prophetic collaboration with singer/songwriter Laura Nyro in the early 1970s, this paper traces the lengthy and varied solo career of former-LaBelle, Nona Hendryx. My argument takes as a point of departure the challenge of telling a 'non-rockist' story about how Hendryx rocks, how she doesn't, and why issues of legibility and legacy rest on these questions. I investigate the consolidation of race, gender and genre in the formative period of the 1970s, when rock and disco were situated within popular media as warring sub-cultures. In particular, I track the ways that the purported artifice of disco and its associations with blackness, gayness and overtly performative, 'feminine' modes of display render Hendryx's later experimentation with other genres of music illegible, even to her most devoted fans.