Results of a misspent youth: Joan Jett's performance of female masculinity

The article maps Joan Jett's performances from her days with the Runaways in the mid-1970s through her successful solo career in the 1980s to her recent affiliations with the riot grrrls in the 1990s. Unlike some critics, who, while acknowledging Jett's influence on generations of female rock performers, dismiss Jett as an inferior copy of male rock musicians, the author argues that Jett's various performances of female masculinity challenged conventional understandings of masculinity and femininity. The article explores how Jett's interest in punk enabled her to carve a space for herself in a male-dominated genre. It is further contended that as more spaces opened for women in the early 1990s, Jett's performances took a more aggressive stance on traditionally feminist issues and enabled her to use her sexuality as an offensive weapon.     

Hearts and Minds: War Neurosis and the Politics of Madness in Anna Kavan's I Am Lazarus

Abstract

Anna Kavan's fictional portrayals of psychiatric breakdown and its treatment provide a unique perspective on the patient's experience of early to mid twentieth-century psychiatry. This article looks in detail at Kavan's time working with soldiers suffering from effort syndrome during the Second World War, observing how the solider-psychiatric patient becomes a figurehead for her radical politics in her Horizon article ‘The Case of Bill Williams’ (1944), and a prominent protagonist in her stories. Through close reading of her correspondence, her journalism and her wartime stories collected in I Am Lazarus (1945), it examines how the intersection of psychological trauma and physiological symptoms characteristic of effort syndrome surfaces in Kavan's writing of this period and in her own psychic responses to the war. It observes the importance of figurative language to her portrayal of war trauma and psychological breakdown, as her characters embody metaphor in their psychosomatic symptoms, and explores a twisted reconception of mind–body dualism prevalent throughout her writing of this period. It goes on to examine how the peculiar interaction of the physical and the psychological extends to the relationship between Kavan's characters and their external environment in her Blitz stories. Against the backdrop of the war-torn city, mind and body engage in ongoing conflict, affect and emotion bleed into her physical landscapes, and everyday objects become animated and hostile towards her protagonists.     

The Archive Function

As Joan Wallach Scott warns in The Fantasy of Feminist History, the danger of depositing one's personal papers in an archive is that one's papers then become open to misinterpretation. In this article, Scott's fears are enacted in relation to another feminist theorist's archival collection, that of prominent Canadian scholar Barbara Godard who died before she could complete the process of donating her papers to the Clara Thomas Archives and Special Collections at York University. Drawing on personal memories and eclectic textual traces, this article attempts to recover Godard's theory of the archive—a theory she never fully articulated in her lifetime, despite dedicating much of her time and energy to collecting and preserving her own words and the words and papers of her students and collaborators.     

Omelettes and broken eggs: Politics in the fictional works of Simone de Beauvoir

Simone de Beauvoir's fictional works of the 1940s and 1950s reflect the author's personal struggle to weigh her lifelong commitment to her writing against her growing conviction about the need to participate in political action in order to bring about a socialist society free of class distinction and privelege. Her female protagonists mirror both her reluctance to devote the necessary hours to the meetings and committee assignments which are an integral part of the political process and her experience of the euphoria of group action during and immediately after World War II. In moving chronologically through Beauvoir's novels and play, the reader finds a progressive disillusionment with the effectiveness of political activism which in no way diminishes the author's expressed determination to opt for the U.S.S.R. over the U.S.A., for socialism over capitalism. Just as her autobiography devotes many pages to explanations of Jean-Paul Sartre's political activities and the rationale behind them, the women in her fiction generally relate to the political arena by listening and reacting to decisions made by men. Several of them, however, go beyond the role assigned to them by the male protagonists to achieve a political identity of their own.     

The Impersonal Strategy: Re-visiting Virginia Woolf's Position in The Common Reader Essays

The concept of impersonality as a writer's strategy has been exposed to misinterpretations that either fail to exhaust its full meaning and deposit an unequal amount of attention on all components of the term or, in the worst case, tend to distort its true elements. In relation to Virginia Woolf's criticism, in particular, it is a critical commonplace that the author employed an impersonal position in order not to fully materialise her feminist vision, but to shy away from explicitly expressing her feminist convictions and openly supporting women's rights. Indicative of this is the criticism that suggests disapproval of Woolf's reluctance to side with her own gender and declare the power of female personality.

The aim here is to challenge such critical views, separate the discussion of impersonality from its association with that of androgyny, and re-visit the issue of Woolf's employment of the impersonal strategy. I examine two of Woolf's essays on nineteenth-century women writers included in her first volume of The Common Reader and offer an analysis from both a gender-oriented and a genderless angle. Woolf's strong affinity with female conditions of oppression, her modernist convictions, her need to compromise with the male-dominated context of the time and her concurrent urge to co-operate with the common reader of an unspecified sex for the sake of artistic creation reveal more complex reasons behind her intentions than those examined by critics so far.     

Voices from the feminine margin: Izumi Shikibu and the nuns of Kumano and Seiganji

Kara Walker's 2005 multimedia creation, Song of the South, marks an important transitional moment in Walker's critical artistic practice, described in this essay as a ‘performative turn’. A close study of the work reveals Walker's increasing attentiveness to engage with the viewer's presence as well as incorporating her own personal and collective experiences as an African-American woman with even greater intimacy than in her previous projects. These elements, combined with Walker's use of filmic interventions and her own body as both a represented image and live performer, result in the production of a richly layered and provocative work of art. Song of the South reflects Walker's continued ability to exacerbate the stinging wounds of history while challenging us to address the trauma of the past as manifested in today's societal ills.     

Marketing edwardian feminism: Dora Marsden,votes for women and the freewoman

Although Dora Marsden had resigned from the Women's Social and Political Union (WSPU) and repudiated the principles of the women's suffrage movement by the time she founded The Freewoman in 1911, she recognised the marketing potential of her suffragette persona. Thus, despite envisioning her journal as a post-suffragist ‘little magazine’, she used her status as a famed WSPU organiser prior to The Freewoman's publication to garner suffragette subscribers and advertisements for women's goods and services. After The Freewoman's debut, Marsden lost most of her original advertisers and subscribers, many of whom accused the editor of having misled them as to the nature of her journal. The author argues that Marsden's rejection of the journalistic model provided by the mainstream suffrage press and willingness to allow The Freewoman to slide into bankruptcy signalled a strategic bid for the ‘cultural capital’ that accrues to writers who forego mass readerships in order to gain avant-garde reputations     

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.     

Conversations with Lil: A play with Alzheimer's in five scenes and a couple of phone calls

Editors’ note – Elinor Fuchs's family memoir, Making an Exit, the story of her mother Lillian's unusual career and later memory loss, was published in 2005. Since that time Elinor has been invited to speak before many different groups on her experience as a caregiver. On occasion, instead of a talk, she has offered a performance, spliced together from the fragments of conversation she taped with her mother over several years. In these conference performances, Elinor performs both her own words and her mother's, and reads all notes, scene titles, asides, and “stage directions.”     

Performing sinners: The Asobi and the Buddhist discourse of Tsumi

This essay addresses how Oprah's book choices are inevitably affective but not necessarily feminist. By reading Oprah's book choices as highly individualistic, I analyze how her choices might be more aggressive and more complex, thereby offering a sense of community rather than the power of individuality to her huge audiences. My argument is based on a belief in Oprah's communicative power, and especially if her book choices were invested with more complications than individual resolutions.     

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.     

The women's project: A profile

This paper offers an analysis of the Oprah Winfrey talk show's success as emanating from an ideal typical form of branding that we term “dynamic branding”, in which the gap between production and consumption is almost entirely bridged. Oprah has managed to maintain a dynamic relationship with her viewers based on multiple feedback and feed-forward processes in which consumers' concerns are immediately translated into Oprah's performed identity in her talk show. Such an ongoing exchange of information with her viewers was the basis for Oprah's performance of her own self as a “failed self” embattled with the problems of everyday life, thus creating an equalitarian relationship with her audience. The success of Oprah's brand identity thus derives from its content as much as from the mode of its construction, a mode which involves an intimate and adaptive relationship with consumers that enables Oprah to immediately respond to and incorporate viewers' concerns, values and norms. This paper analyzes in detail Oprah's performed identity with analytical tools informed by linguistic anthropology and brings it into conversation with contemporary branding theories.     

New woman meets Shakespeare woman: the struggle over the figure of Portia in England in the late nineteenth and early twentieth centuries

Abstract

Approaching the material from the perspective of cultural history, this essay explores the ways in which England, in the late nineteenth and early twentieth centuries, witnessed considerable debate about the character of Portia from Shakespeare'sThe Merchant of Venice. Feminists seized upon her appearance as a lawyer to argue for Shakespeare's advocacy on behalf of women's emancipation. Anti-feminists stressed the character's acquiescence to male control of her affections and her estate. Thus for many readers and viewers of the play concern about the status of the New Woman, civic maternalism, married women's property rights, and women in the professions, overrode their interest in the play as a text about Christians and Jews.     

'Neither man nor woman'? Female Transvestism,Object Relations and Mourning in George Moore's 'Albert Nobbs'

Heilmann offers a psychoanalytic reading of Moore's narrative of cross-gender impersonation 'Albert Nobbs'. First published in A Story-Teller's Holiday (1918) and later transferred to Celibate Lives (1927), the story features a woman who passes herself off as a man, until a chance meeting with another male impersonator happily equipped with a wife galvanizes her desire for a companion. Her inability to reveal the secret of her body to her prospective bride, however, coupled with the marked absence of any expression of sexual passion, leads to the break-up of the relationship, and Albert dies, a loner hoarding money in order to sublimate her thwarted longing for love. In this text the no (wo)man's land of cross-gender masquerade operates as a psychological marker of Albert's social (hence internal) lack of identity. An illegitimate child brought up by a nurse, she never knew her parents, whose absent presence was embodied by an allowance discontinued after their death. Drawing on Kleinian object-relations theory, Heilmann argues that Albert's (mis)performance of 'manhood' constitutes a subliminal quest for her missing parents, a desire always frustrated and ultimately displaced into the hard currency of material commodities. If Moore's story represents the female tranvestite as a castrated, sexless and depressed 'perhapser', an 'outcast from both sexes', fatherless and yet forever locked into a male-authored, patronymic text, Simone Benmussa, who in 1977 adapted the story for the stage ( The Singular Life of Albert Nobbs ), offers a more subversive reading of the female cross-dresser as a 'figure that disrupts' (Marjorie Garber) cultural categories and binary oppositions. The article ends with a consideration of Benmussa's revisionary strategies.     

Dancing Sita/reinventing a body disappeared: Notes from from Sita: Lament,fury, and a plea for peace

Richard Shannon's solo performance piece, The Lady of Burma, takes his audience inside Burmese democracy leader Aung San Suu Kyi's imprisonment as she tells her story, moving between memory and the present. This excerpt begins as Suu Kyi has returned to Burma to care for her ailing mother, just as students begin to take to the streets against the ruling junta. In this sequence, Suu Kyi re-enacts the early violence subjected to the democracy activists (scenes that are eerily reminiscent of the spectacle of violence documented in Iran over the past year). As the scene continues, Suu Kyi describes her gradual engagement with the democracy activists, building to her famed address at the sacred Shwedagon Pagoda, in which Suu Kyi mobilized many of the nation's population in their struggle for liberation. The excerpt ends as Suu Kyi continues her struggle to lead the Burmese people to freedom through peaceful revolution, at the same time that her mother's life is coming to a close.     

‘A sort of Rathmines version of a Dior design’: Maeve Brennan,Self-Fashioning and the Uses of Style

This article explores the politics of style in the writing of Maeve Brennan. Brennan's concern with style, subjectivity and power is strikingly visible in her short stories and ‘Talk of the Town’ essays for the New Yorker. While in some of her short stories published in the New Yorker in the 1950s, Brennan seems to offer an extended critique of dandyism, elsewhere in her writing self-fashioning takes on an altogether more positive value and is steeped in the political as well as literary commitments of her work. The article argues that Brennan's interest in the politics of style, both personally and in her writing, is informed by the different strategies she deployed as an Irish woman writer establishing her place amongst a New York literary elite in the mid twentieth century.     

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.     

Authenticity of self‐expression: Reinterpretation of female independence through the writings of simone de beauvoir

Based on the autobiographical writings of Simone de Beauvoir, this paper reinterprets the concepts of “dependency” and “independence” with respect to women's experiences. De Beauvoir, considered a strong and independent woman, continuously struggled for emotional independence, a struggle which she conceived as being against the need that drove her “impetuously toward another person”. However, a careful examination of de Beauvoir's inner voice as it is reflected in the subtext of her autobiographical writings, suggests that her true struggle revolves around a desire for authentic expression of her feelings and needs — rather than for separation from others.

As an adolescent de Beauvoir was caught between the expectations of her parents and her own needs, remaining the “dutiful daughter” at the expense of being false to her own self. This pattern of dependency reappears in her adult life, when she seems to be incapable of validating her feelings of jealousy and anger in her relationship with Sartre. Her means of coping with this problem is by giving it a literary expression, hence, she seems to gain a sense of freedom and independence by giving her repressed feelings an authentic outlet.

The re‐reading of de Beauvoir's autobiography in a new light of feminist criticism reveals a concept of dependency different from the need to rely on, receive help from, and be influenced by another. When one examines the meanings of dependency and independence through the female language of connectedness and women's values of care and involvement, the essential meaning of dependency shifts from the lack of self‐reliance to suppression of self‐expression, and from struggles for separation to struggles for one's personal truth and for authenticity in one's relations with others.     

Challenging the Biological: The Fantasy of Male Birth as a Nineteenth-Century Narrative of Ethical Failure

In Jane Eyre, Charlotte Brontë portrays a fully realized heroine who challenges society's and fiction's conventional roles for women. In order to broaden her heroine's role, Brontë had to go beyond the genres open to her — the novel of manners, the Gothic, and the governess novel — to establish a new genre: the feminist fairytale. In establishing this genre, Brontë pinpoints Jane's specifically female dilemma: how to achieve intimacy and still maintain independence.

At once beautiful and terrible, sustaining and destructive, fire is the perfect element to convey a sense of Jane's often conflicting desires. Brontë carefully establishes hearth fires as an index to how included and “at home” Jane feels. Similarly, Brontë uses metaphors of self‐sacrifice and immolation to indicate times when Jane feels her independence is being threatened.

The hearth fires and the metaphorical fires are overshadowed by the “big” fires in the novel, but their consistent, unobtrusive use allows Brontë to reinforce her theme in the simple details of the story and to maintain an attention to craft that is too often undervalued or ignored.