共查询到20条相似文献,搜索用时 9 毫秒
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Frank B. Wilderson III 《Women & Performance》2017,27(1):104-111
This essay expands Saidiya Hartman's unflinching paradigmatic analysis in Scenes of Subjection of the modes of historical continuity in which Black women are barred from reciprocity, recognition, and incorporation ab initio (Hartman, Saidiya V. 1997. Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America. New York: Oxford University Press.). By engaging the works of key Marxist feminist theorist Leopoldina Fortunati, I will demystify the ways in which these three homologies which non-Black women depend upon for the coherence of their complaint are parasitic on the flesh of Black women and men. 相似文献
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Matthew H Hartman 《Journal of Gender Studies》2019,28(7):826-836
ABSTRACTThis essay argues that Mary Wollstonecraft interprets marriage in A Vindication of the Rights of Woman as a relationship reminiscent of Aristotelian higher friendship. This position presents an Aristotelian paradox: Wollstonecraft shows how marriage – an institution Aristotle explicitly viewed as a husband ruling a wife – can be the basis of the Aristotelian fulfilment political society structurally provides to the best men. Overall, Wollstonecraft suggests that marriage should be recognized as a concrete contract of friendship between two individuals as opposed to a male-female complementarity that ends in the propagation of the species through childbirth. Her work enables us to challenge ideas of marriage – from Aristotle to Rousseau to the new natural law tradition – that overlook how the structure of marriage dominates possibilities for partnerships. By thus dignifying marriage, Wollstonecraft both critiques eighteenth century marriage practices and broadens the scope of gender expression today.Abbreviation: VRW - A Vindication of the Rights of Woman 相似文献
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Peter Taylor Klein 《The Journal of peasant studies》2015,42(6):1137-1156
This contribution uses the case of Brazil's largest infrastructure project, the Belo Monte hydroelectric facility, to examine the challenges and opportunities for resistance and claims-making in the face of contemporary development projects. It shows that the confluence of the privatized nature of hydroelectric projects and the government's purported commitment to democratic, participatory development has impacts. I argue that this context, on the one hand, contributes to the fracturing of civil society. On the other hand, it presents opportunities for the creation of surprising alliances among diverse resistance groups and the state. I further argue that direct acts of resistance in this context can encourage the state to work for the public good. 相似文献
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Meera Kosambi 《澳大利亚女权主义者研究》2004,19(43):19-28
‘The silence of a thousand years is broken’ exulted Rachel Bodley's introduction to Pandita Ramabai's feminist manifesto The High‐caste Hindu Woman, which was published in 1887 and sold 9,000 copies internationally within a year.1 Its author was instantly made into an icon in Western countries from the United States to Australia, to linger on in their collective memories, even as she was relegated to ‘silence’ in the social histories and discourses of India. This conundrum, pivotal to an understanding of her life and, I submit, rooted in her feminism, is still to be addressed. The numerous and informative biographies of Ramabai (23 April 1858–5 April 1922) have been located within two distinct paradigms: one projects her life, sometimes almost hagiographically, as a triumphant expression of the Christian impulse;2 and the other valorises her advocacy of women's education while sidestepping the issue of religion.3 Both elide her feminism. Recent feminist scholarship on Ramabai has impressively interwoven multiple disciplinary and ideological strands, but tended to focus either on her passage to Christianity,4 or her reverse gaze at the West during international travels.5 The parameters of her life and of her feminism have rarely been clearly outlined.6 In this article I propose to analyse her feminism by tracing her multiple ideological trajectories mainly through a discussion of some of her landmark writings, and then indicate the problematic of her representation of the highly troped ‘oppressed Indian woman’. 相似文献
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Laraine Porter 《Women's history review》2020,29(5):766-783
ABSTRACT Taking its cue from Dorothy Richardson’s essay, ‘The Film Gone Male’ written for the critical, Left-wing British film publication Close Up in 1932, this article looks at women working in the British film industry during the transition from silent to sound cinema between 1929 and 1932. It considers the effects of new sound technology on women’s roles in front of and behind the camera from production to reception and critique. It also questions whether sound technology further marginalised women as producers of cinema and interrogates whether synchronised sound masculinised film as Richardson asserted. 相似文献
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Katherine O’Donnell 《Journal of Gender Studies》2019,28(7):789-801
ABSTRACTThis article focuses on the gendered and nationalist rhetorical strategies Mary Wollstonecraft used in her work The Vindication of the Rights of Man which was written as an open letter of response to Edmund Burke's Reflections on the Revolution in France . While a number of scholars note Wollstonecraft’s adoption of a masculine voice in her systematic feminizing of Burke, this article also pays attention to the ways in which Wollstonecraft impugns Burke with the taints of being crypto-Catholic, Irish, and quasi-French. We notice how Wollstonecraft’s masculine voice is rational, combative, righteously passionate, middle-class, patriotically English and critically Protestant. We compare the fashioning of Wollstonecraft’s voice with contemporary political caricatures of John Bull and the cartoon depictions of Edmund Burke that appeared as Wollstonecraft was composing her VRM. Wollstonecraft’s VRM gained her considered attention and her critique of Burke’s character, (and what this article claims is her misreading of his aesthetic treatise), have been remarkably influential even to the present day. The characteristics of the distinct voice created in Wollstonecraft’s first Vindication are also evident in her second and more famous Vindication of the Rights of Woman. However, the rhetorical commitments entailed in Wollstonecraft’s public voice created challenges for her arguments in the second Vindication that demand careful attention. 相似文献