Mining memories: reading coalfield autobiographies

This article examines unpublished coal miners’ autobiographies. The reading of the texts was complemented by ethnography, oral testimony and archival research. The narratives reveal continuities and ruptures in experiences of the workplace, the domestic sphere and industrial politics. Miners’ identity is explored through collective memory, language, song, humour, sexuality, and the body.     

Afterword: turning and twisting histories of women’s education: reading reflexively and diffractively

ABSTRACT

The Afterword discusses continuities and differences in how researchers are positioned in feminist themes and emerging feminist perspectives as they play out in debates around researcher reflexivity and diffraction as methodological strategies. The first section of the Afterword highlights the ongoing commitment to reflexivity when generating knowledge in women’s and gender history. The second part focuses on the challenge to reflexivity posed by diffractive methodologies that argue that knowledge is created from being entangled in the world, rather than reflecting on or during the production of historical work. This section discusses two examples of diffractive practice in archival research taken from the special issue. The third section outlines diffractive reading in more detail and provides two examples of diffractive reading of texts. Finally, the Afterword invites readers to undertake a diffractive reading of the articles in the special issue and provides some questions about diffraction for consideration.     

The Quest for the Lost Story: feminist reading of Julia Margaret Cameron's ‘Mountain Nymph Sweet Liberty’

This article suggests a feminist reading of the photograph ‘Mountain Nymph Sweet Liberty’ created by the early Victorian photographer, Julia Margaret Cameron. Examining this photograph in its historical context, it analyzes the unique encounter between Cameron, an upper-middle-class Anglo-Indian photographer, and her female model-subject, who came from the English lower classes. Whereas Cameron's biography is well researched and her artistic endeavors are fully acknowledged, the information on the photographed model, Annie Keene, is scarce. This article aims to reconstruct the model's life story. To fill the holes in the archival record, fiction is used to tell a detailed story of the unique professional meeting between Cameron and her sitter. The following is a feminist project intended to recover female subjectivities, whose relationships have been erased by art and history.     

Women have servants and men never eat: issues in reading gender,using the case study of mass-observation's 1937 day-diaries

Abstract

The category ‘gender’ has become axiomatic to feminist analysis: analysing the dynamics and outcomes of gender has come to be seen as constituting ‘what academic feminists do’. Within feminist analysis, gender is positioned as ana prioricharacteristic of social life; and gender is also analytically privileged as the most salient characteristic of people and social situations. Both assumptions are challenged. This article argues instead that gender is not a discovery, something innately ‘there’ in social life, but is rather to be understood as an invention, an imposed analytic category of great utility for academic feminism, but also one which creates as many analytic troubles as it solves. The article problematises thea prioriand privileged status of gender within feminist analysis by discussing various interpretational issues involved in analysing a set of day-diaries written by women and men for Mass-Observation in 1937, in particular focusing on reading and writing as interpretational acts which are often treated as analytically transparent. Here, however, this epistemological bracketing is suspended, and instead both are scrutinised in analytical detail. Although the argument is discussed in relation to these specific historical materials, it is argued that the same epistemological issues arise in relation to the analysis of all kinds of research materials, whether historical or present-day, for reading and writing are the crucial elements of interpretation, and interpretation is itself central to feminist as to all other analysis.     

‘Hope is a mistake,if you can’t fix what’s broken you go insane’: a reading of gender, (s)heroism and redemption in Mad Max: Fury Road

After a hiatus of 30 years since the first three films, the fourth Mad Max film was released in 2015, called Fury Road. It features the familiar eponymous character of Max, but this time alongside a female character, Imperator Furiosa. The gender dynamics of the fourth film are vastly different from those of the first three films and elicited much praise as well as criticism. It provides a new perspective through which to view the early films and the dystopian post-apocalyptic future world presented in the films. Fury Road introduces a corrective to the earlier films in terms of their reductive depictions of the relations between men and women, while avoiding an equally reductive representation of gendered shame and blame. The message is clearly about collaboration and cooperation as essential for the redemption of a world in which gendered inequities and abuses of power remain deeply disconcerting obstacles. This article considers some of the most salient aspects related to the depiction of women in Fury Road and of the relationship between the two main characters, Max and Furiosa.