militarism,conflict and women's activism in the global era: challenges and prospects for women in three West African contexts

This paper deals with the wrought relationship between psychoanalysis and feminism, broadly defined. Tracing the trajectory in which psychoanalysis leads feminism from sexuality to sexual difference then to the Phallus and the ideology of femininity, the paper takes on these ‘f-words’—femininity and ‘f-allus’, Freud and Foucault—to foreground an unacknowledged challenge of Judith Butler by Toril Moi in 1999. In this paper, I read Freud closely and demonstrate that although Freud's theory of cure is obscured by the turn to the Phallus and the ideology of femininity, its language of fantasy, sexuality, desire and the unconscious remain important concepts for feminism of the new millennium. On the other hand, critiques of ‘empire of the Phallus’ such as the French feminists’ affirmation of femininity and Judith Butler's concept of ‘lesbian Phallus’ only reproduce the master's system. Butler's misreading of Freud's ‘tooth’ and Lacan's ‘eyes’ as the Phallus shows that ‘inversion, subversion and rebellion’ by reversal or negation often leads to repetition without difference. In conclusion, I introduce Joan Copjec's critique of Foucaultian historicism and Toril Moi's turn to ordinary language philosophy to propose a new psychoanalytic feminism that can have sex without the Phallus.     

‘Not Simple,Not Pure’: Revisioning of Mythical Wicked Women in the Stories of Sara Maitland

The British novelist, feminist and religious thinker Sara Maitland (b.1950) is renowned for her short stories, many of which involve the rewriting of fairy tale and classical and biblical myth. This article situates Maitland's retellings within the contemporary feminist tradition of literary revisioning, but emphasises that her retelling of old tales is distinguished by a deep—and often discomforting—engagement with questions of morality. This is rooted in Maitland's political commitment and Christian faith, and is particularly evident in her treatment of mythical female evil. Her short stories take a morally ambiguous approach, paying attention to the moral and psychological complexities of the wicked stepmothers in fairy tale, gorgons and child-killers of classical myth, and temptresses of the Hebrew Bible. Maitland's feminist revisioning of mythical wicked women does not flinch from their darkness, or impose simple ethical lessons, but at the same time she is (sometimes horribly) aware of their moral significance. This article examines the portrayal of feminist theology's concept of the ‘female sin’ of passivity in Maitland's revisioning of Delilah (in Daughter of Jerusalem, 1978) and ‘Helen of Troy's Aerobics Class’ (in On Becoming A Fairy Godmother, 2003); how the crimes of mythical wicked women are retold as being motivated by revenge against men in ‘Deborah and Jael’ (Daughter of Jerusalem), ‘Siren Song’ and ‘The Swallow and the Nightingale’ (Far North and Other Dark Tales, 2008). The latter of these raises issues of women's conflicting loyalties, which is also considered in ‘The Swans’ (2008). The taboos of incest and child abuse are explored powerfully and sensitively in ‘Jocasta’ (2003) and ‘The Wicked Stepmother's Lament’ (A Book of Spells, 1987), and resistance to simplistic moralising is encapsulated in the story of a menopausal Eve, in ‘Choosing Paradise’ (2003).     

Trickster Humour in Randa Jarrar's A Map of Home: Negotiating Arab American Muslim Female Sexuality

Randa Jarrar’ s A Map of Home (2008), a major contemporary Arab American woman's novel, utilizes trickster humour as a way to resist the ideological manufacture of the Muslim female body propounded by US orientalism, Islamist orthodoxy and secular Arab patriarchy. Current scholarship on A Map of Home has not examined the relationship between humour and contemporary female sexuality. Focusing mostly on authorial tone, this article reads the novel's narrator-protagonist, Nidali Ammar, as a trickster figure, who resists being perceived as a cultural heroine and in doing so disrupts the sacredness of social conventions. The trickster A Map of Home celebrates, and Nidali enacts, prompts readers to laugh at key cultural norms shaping the Muslim female body in post-9/11 US sculpture. This inquiry examines a range of interconnected sexual themes—most notably, ‘proper’ sexual boundaries, orientations and codes of virginity—to illustrate how trickster humour fosters Arab American women's agency.     

New Queer Histories: Laura Doan's Disturbing Practices and the Constance Maynard Archive

This review of Laura Doan's most recent work, Disturbing Practices: history, sexuality, and women's experience of modern war (2013) considers how this text might inform future readings of the Constance Maynard Archive. The work outlines a new methodological approach—‘queer critical history'—to the history of sexuality. Carefully attuned to the overlapping taxonomical, linguistic, legal, medical and cultural agendas that contribute to the formation of sexual identities, this methodology allows the historian to reflect upon what remains unknowable about the sexual lives of the past, and to think more usefully about archival inconsistencies and silences.     

‘Gone are the Days’: Bisexual Perspectives on Lesbian/Feminist Literary Theory

In this article I offer a map of recent UK and US lesbian feminist literary theory which highlights the shifting and often paradoxical interpretations of lesbian sexuality as both real and as metaphorical. I focus on two key texts which offer overviews and analysis of the field from different sides of the Atlantic, which are both accessible, in the sense of being written from the perspective of ‘ordinary’ lesbians, rather than structuring lesbian feminist literary criticism around traditional critical concepts, and which also, unusually, offer some (small) comment on bisexuality. These two works are Bonnie Zimmerman's Safe Sea of Women (1992), and Palmer's Contemporary Lesbian Writing (1993). I argue that lesbian/feminist literary theory offers particular constructions of sexuality which, while challenging many of the assumptions of heterosexual feminist literary theory, largely ignores the bisexual content of much lesbian fiction, and consequently glosses over some of the tricky areas of gender and sexuality difference. Through this ‘les/bi’ reading I hope to encourage the figure of the bisexual woman to question both constructions and deconstructions of lesbian sexuality.     

Stevie Smith's Myth-Kitty

Abstract

Although Stevie Smith's poetry is in many ways very close to the laconic and less-deceived tone characteristic of Philip Larkin, there is one aspect of her work in which she differs strikingly from him and from the general features of Movement poetry: that is, in her use of what Larkin, in his 1956 ‘statement on poetry’, contemptuously called a ‘common myth-kitty’. In this chapter, I attempt to examine the treasures of Stevie's myth-kitty, not merely with the aim of distancing Smith from the Movement, but of reassessing her relationship with modernism and other poets of the generation which came to prominence in the 1930s, in particular, W. H. Auden. Smith's closest connection with modernism has often been seen to be her use of a stream-of-consciousness technique, as deployed in Novel on Yellow Paper—a technique which is inevitably compared to and dismissed as inferior to that of Virginia Woolf. Instead, I will put forward the claim that Smith's relationship to modernism should also be seen in her use of intertextuality, in the classical and other mythic fragments which, despite considerable differences of tone, place her work in the same tradition as James Joyce, Ezra Pound and T. S Eliot. I attempt to demonstrate how she draws on this ‘myth-kitty’, especially ?n her poetry, focusing on her treatment of female mythical figures, and argue that the key figure in Smith's oeuvre—the counterpart and equivalent of Eliot's Tiresias—is the figure of Persephone on her journey to the underworld.     

sexyshock: networks that matter

Sexyshock emerged out of a huge demonstration in defence of the Italian abortion law in June 2001. It is a laboratory of communication on gender issues, managed by women but directed towards all genders. It is a public space that gives visibility to women's issues as well as being a permanent workshop on sexuality, a network of women involved in pink/queer activism within a communicative laboratory. As such, Sexyshock is a ‘space of contamination’ between transversal projects which exist among different political institutions and subjects all over Italy and Europe. Her challenge lies in ‘playing with’ and ‘deconstructing’ sexual and identity issues through an ‘open-border’ conception of politics.     

Gunder frank in retreat?

World Accumulation, 1492–1789, by Andre Gunder Frank. New York: Monthly Review Press, 1978. Pp. 303, index. £3.95, paper.

In this review article, Andre Gunder Frank's latest book, World Accumulation, is given extended critical treatment. It is argued that, in generalising his earlier arguments (which were formulated with respect to Chile and Brazil) across space and time, and in responding to a decade of criticism of his work, Frank has moved closer to the position of one of his best‐known critics, Laclau. Frank is taken to task for his ‘world market abstractionism’ and it is posited that the incorporation model which he espouses does not transcend the limits of petty‐bourgeois theory and downgrades the class struggle between bourgeoisie and proletariat. The article falls into two parts. In the first, issues relating to Frank's historical framework are taken up—basically with regard to (i) Frank's ‘cycles of accumulation’ and (ii) Frank's interpretation of the second serfdom in eastern Europe; and in the second certain theoretical issues, around the theme of'wage‐labour’, are discussed. Both Frank's historical framework and his theoretical formulations are shown to be seriously defective.     

Working Girls: Femininity and Entrapment in Peyton Place and Valley of the Dolls

Jacqueline Susann's Valley of the Dolls (1966) and Grace Metalious's Peyton Place (1956) are novels that have long exerted a powerful hold on the popular imagination. The bestselling Peyton Place was adapted into a successful film in 1957 before becoming an iconic television series, running from 1964 to 1969. Valley of the Dolls was similarly re-imagined in two films, Valley of the Dolls (1967) and Beyond the Valley of the Dolls (1970), which, even today, retain a cult following. These books are typically remembered for their scandalous bringing to light of such ‘taboo’ issues as adultery, abortion, female sexuality and sexual abuse. But this article suggests that Peyton Place and Valley of the Dolls are equally preoccupied with a sympathetic examination of the role of women in the post-war workplace. In both of these novels, the process of female self-fashioning is integrally related to a woman's entry into the workforce, and to the making and controlling of her own money. But this entry into the male-dominated workforce is inherently fraught with danger, and Metalious and Susann expose some of the myriad ways in which the so-called ‘American Dream’ is contingent on the entrapment, suppression and regulation of various forms of female desire and agency.     

Women resist dictatorship: voices from Latin America

This article re-visits the friendship of Vera Brittain and Winifred Holtby through some (largely unpublished) correspondence exchanged in 1926. Building on a body of literature which asserts the personal and professional importance of this friendship, my own analysis moves beyond what I identify as a polarisation of ‘work’; and ‘sexuality’ and reveals a friendship where professional and erotic interests are engaged in a dynamic exchange. In addition, I argue that the ways in which work and desire ‘trade’ with each other in this friendship are symptomatic of material and discursive conditions concerning women's work and sexuality in the interwar period. Specifically, ‘work’ will be seen to stand in for and legitimise a friendship which may be placed under censorious scrutiny, while ‘desire’ is displaced onto real professional ambitions which become possible at this historical moment. Brittain and Holtby were among scores of middle-class women becoming professional writers in large numbers for the first time in English history. Their ‘trade’ in work and desire invites more complex readings of other intense friendships which enabled women to succeed in professional life like never before.     

Regendering modernism: the woman artist in Irish women’s fiction

The period between 1922 and 1960 is often characterized as one of social and cultural stagnation in Ireland. Irish fiction was dominated by an avant-garde writing in exile and the local dominance of the short story. Attention to the non-canonical fiction of women during the period, however, reveals a literature that exceeds this paradigm. Meaney focuses on two novels, The Troubled House by Rosamond Jacob and As Music and Splendour by Kate O’Brien, which both feature women as artists. This figure provides in both cases a mode of combining a commitment to narrative realism with a self-reflexive exploration of the role of art, thus evading the fictional polarities of the period. The woman artist as fictional character also offers an opportunity to explore the relationship between gender, sexuality, politics and art. The linkage between sexual dissidence and aesthetic freedom is a persistent trope of modernism in the Irish context, even if it is often critically submerged under the figure of exile. Both The Troubled House and As Music and Splendour might be considered to be supplements to Irish modernism in the Derridean sense, ‘an originary necessity and an essential accident’. Through the figure of the woman artist, both of these marginal novels transgress the configurations of gender at the heart of that modernism’s aesthetic project. Both link transgressive sexuality with artistic production. In doing so they posit a very different relationship between sexuality, aesthetics and politics.     

Hélène Cixous's Autre Bisexualité and the Eternal Feminine in the Works of Nuala Ní Dhomhnaill

This article analyses the creative engagement of the Irish-language poet Ní Dhomhnaill with Hélène Cixous's écriture féminine. Ní Dhomhnaill translates Cixousian images and concepts into her texts, returning on several occasions to the concept of l'autre bisexualité (‘the other bisexuality’). Cixous uses this concept to rehabilitate—and celebrate—what she designates as ‘the feminine’, the alterity within and outside the self. For both writers, this alterity comprehends marginalized cultures as well as femininity. Both bring anti-essentialist convictions to their views of gender and cultural identity, but their respective poetics are born of shared preoccupations with biblical and mythological figures, and narratives often implicated in essentialism. Ní Dhomhnaill connects these archetypal figures with the cultural realities of post-colonial Ireland. The author argues that she draws on the works of Cixous to connect the indigenous Irish language and culture with the rehabilitation of femininity. But whereas, in Cixousian texts, ‘femininity’ eludes concrete definitions and stable meanings, in the works of Ní Dhomhnaill, it often signifies an authentic pre-colonial culture that is ripe for rediscovery in post-colonial Ireland. Ní Dhomhnaill simultaneously celebrates this culture and acknowledges its embeddedness in a Celtic patriarchy that her Cixousian tropes work to undercut.     

The Gothic,the Death Drive and Angela Carter

Abstract

This essay situates Angela Carter's The Bloody Chamber and Other Stories (1979) in a 1970s era in which a feminist reclaiming of various things—the streets, the night, as well as fairy tales—is the order of the day. It examines the complex nature of Carter's status, in this context, as a controversial writer. Is Carter a writer who contests or colludes with the forms of reality presented in and by her fiction? This question may be seen as framing the main debate about Carter as a ‘problematic’ or ‘polarizing’ figure. The different sides of this argument are assessed in this essay. From reading ‘The Bloody Chamber’ as an exemplary reworking of the Gothic, and itself one of Carter's fictions of the death drive, the essay reaches a clear conclusion of its own regarding the vexed contest/collude dimension of Carter's storytelling.     

gendered discipline in globalising India

Discrimination and violence against women in India often tend to be discussed, framed and explained in cultural terms alone. It is a commonplace assumption that Indian cultural norms are responsible for women’s oppression in India and that India’s moves to open up the economy to globalisation will usher in modernity and empower women. Another similar assumption is that gendered violence and patriarchal oppression are produced and located primarily in the (Indian traditional) family and community, and that women’s entry into the globalised workforce will empower and help them confront and overcome such violence and oppression. This paper attempts to challenge this false binary between ‘family/community/tradition/culture’ and ‘modern political economy’. It looks at the methods used across various sites—household/family, college/university and factory—to subject women’s labour and sexuality to a regime of surveillance and gendered discipline. It also looks at the ways in which this regime is disrupted and challenged repeatedly by women’s protests.     

Homework

This article explores how plays in the 1890s engaged with an aspect of evolutionary theory that had become particularly vexed—namely, the idea of gender essentialism: whether motherhood was the true calling for women; whether the bond with the infant was inevitable and instinctive; whether, as Shaw's teleological, progressive vision would have it, the woman's evolutionary role was to be the ‘life force’, selecting the superior mate for the continued improvement of the species. Considering this question can deepen our understanding of the interaction between science and literature in this period, and also usefully complicate the narrative often told about the figure of the New Woman in drama. Two plays of this period address particularly well the question of what is ‘natural’ maternal behaviour: James A. Herne's Margaret Fleming (first staged in 1890) and Elizabeth Robins and Florence Bell's Alan's Wife (first staged and published in 1893).     

Pomeroy v. Pomeroy: beauty,modernity, and the female entrepreneur in fin-de-siècle London

As a fictional personality trading as ‘Mrs Pomeroy’, Jeannette Scalé dominated London's elite beauty market through the late nineteenth century. By 1906, her control over the expansive commercial empire had collapsed, as new company owners publicly accused her of pecuniary ambitions unbefitting her sex. This article charts Scalé's extraordinary transformation into London's leading complexion specialist, exploring the gender conventions regulating both the beauty business and middle-class female enterprise at the fin de siècle. An investigation of the ‘Mrs Pomeroy’ character reveals businesswomen's changing opportunities in England's ‘modernizing’ retail market, opportunities engendered through new systems of advertising, growing anonymity in the expanding urban scene, and novel forms of self-representation that did not necessarily impinge upon businesswomen's respectability.     

Editing the 1930s: The Lost Work of Josephine Johnson Excerpts from Josephine Johnson's published and unpublished writings are quoted with permission of the Estate of Josephine Johnson Cannon. All quoted materials © Estate of Josephine Johnson Cannon 2005.

The radical avant-garde has aged profoundly. Yet, led by director Judith Malina, the Living Theatre, founded in 1947, remains the longest surviving political theatre collective in the US. The Living Theatre opened its doors at a new theatre/home on New York City's Lower East Side in 2007, where Malina directed a much lauded revival of the company's groundbreaking 1963 production of Kenneth Brown's The Brig, and performed the role of Maudie in the premiere production of Hanon Reznikov's adaptation of Doris Lessing's Maudie and Jane. Vibrant and luminous at 81, an aged Venus rising from the half shell, Malina (dis)played the decaying and decrepit Maudie, standing naked onstage, sensually and lovingly bathed by Pat Russell, playing Jane. Malina's ageing activist/artist's body and voice spoke volumes about decades of societal and cultural transformations, of sexual revolutions, and of wounds that never heal.

Evoking Pierre Nora's ‘sites of memory’—this performative lieu de memoire ‘talks back’ on many levels, both in contemporary contexts and re-membering the zeitgeist of Malina's earlier performances—nearly naked, strident and much younger in the Living Theatres’ legendary production of Paradise Now (1968–70), and eloquently, flamboyantly anarchist, if too old, playing Antigone in Malina's adaptation of Brecht's version of Sophocles play (1967–84). This essay analyses the mise en scène and the reception of Maudie and Jane in light of the working processes and performance history of director/performer/inspirator Malina. Finally, the challenges and hope made visible and corporeal in Malina's on- and off-stage performances are explored.     

Freethought,Free Love and Feminism: secularist debates on marriage and sexual morality,England c. 1850–1885

This article examines the previously unexplored current of Freethinking feminism in the second half of the nineteenth century. Active in the women’s movement of this period, Freethinking feminists were nonetheless viewed as a liability—an attitude that contributed to their exclusion from much of the subsequent historiography. Such marginalisation was due not only to their vocal opposition to all forms of religion, but also their openness to discussing new ways of organising heterosexual relationships. This article focuses on Freethinking feminist critiques of marriage and support for free unions. It demonstrates that these issues continued to be debated in the Secularist movement at a time when many other radical organisations—including much of the women’s movement—kept silent on such topics. In this way, Freethinking feminists kept alive the more radical and libertarian critiques of traditional sexual morality developed by Owenite feminists in the 1830s and 40s. The author argues that the ideology of Freethought propelled its adherents to readdress questions of sex within a new ‘Secularist’ ethical framework. Fierce debate ensued, yet commitment to freedom of discussion ensured that ‘unrespectable’, libertarian voices were never entirely silenced. Freethinking feminism might, then, be viewed as the ‘missing link’ between early nineteenth‐century feminist visions of greater sexual freedom and the more radical discussions of sexuality and free love that began to emerge at the fin de siècle.     

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.