She's old enough to be a beautiful young boy: Sarah Bernhardt,breeches roles and the poetics of aging

This essay argues that Sarah Bernhardt's choice to play young male roles late in her career served as a radically anti-agist feminist response to the limiting and often demeaning professional and social opportunities afforded aging women. While scholarship has attended to Bernhardt's cross-dress roles through the lens of gender, this essay highlights her “breeches” roles, in particular Hamlet and L’Aiglon as cross-age and cross-gender. By examining “aging” as the contextual mode by which gender functioned, we open up new terrain with which to examine and appreciate Bernhardt's significance in the scope of theatre history, women's history and aging studies. In the title roles of Hamlet and L’Aiglon, Berhnardt assumed youth and male-ness on stage, which both highlighted her offstage socially perceived deficits (aged and female) and challenged the designation of those identities as deficient; performance threw into flux what had been assumed static. And the public responded. Far from honoring the assumed cultural hetero-normative contract that aging women acquiesce public visibility, Bernhardt's breeches roles (re)constructed her body as female (from aging/sexless) and demanded audience members’, male and female, desiring gaze.     

A dog in the fight

Holly Hughes’ “A Dog in the Fight” is a queer and feminist literary performance that models a feminist politics of performance that stands as alternative to performances of power that come from the officially anointed space of politics. In this piece, Hughes meditates on the queer relationship between US Presidents and their faithful companions, their dogs. Refusing to jump through the “ceiling” to get into the White House, Hughes offers critique of power from her own couch, recounting her hopes and disappointments in the young Obama administration, while forcing a hated former leader (George W. Bush) from the White House into her performance space as she offers up both a critique of his politics and admits to an uncomfortable affiliation with his love of dogs. What emerges from this performance is a critical call to continue an engagement with struggles for social justice from the fecund and powerful places that exist outside of the authorized institutions of politics, no matter what women and men take up positions within these institutions.     

Surpassing the word: Aileen Wuornos

This article explores the dynamics of Richard Move's drag performance of the late Martha Graham. Drag dance is remarkably self-aware as historiography, and it employs a rhetoric of bodies becoming other bodies: channeling, paying homage, re-embodying, reliving, being possessed. This article argues that drag dance has a historical project for dance history; specifically, that drag bodies can become a new medium through which aesthetic/kinetic histories are transmitted. In the case of Richard Move, the exaggeration and excess of the ageing Martha Graham become modalities that align with the ‘wrongness’ of his body. This is drag dance as a strategy of re-embodiment after the original body has been lost, and Richard Move presents his performance as a ‘haunting,’ much like the feeling Martha Graham describes as the result of a dancer's “first death,” when she watches someone else dance a role she had originated. Ballets like Graham's Lamentation and Cave of the Heart give Move the opportunity to portray Graham's struggle to continue to dance after this “first death,” using drag as a strategy to show up the eerie perfection of voice against the hollowness of the ageing dancer's body. Combining vaudeville and séance, moving from the restless gay “underworld” of the Meatpacking District to the right to presume himself the heir to the mother of modern dance, Richard Move first embodies and then moves beyond Susan Sontag's camp “etc etc” of Graham's self-performance.     

Conversations with Rosângela Silvestre and Steve Coleman

This article incorporates material from separate interviews with Rosângela Silvestre and Steve Coleman, two artists who have maintained common research interests and frequent collaboration over the last decade. Silvestre, a Brazilian dancer and choreographer who has incorporated “traditional” movement vocabularies into her experimental work, and Coleman, an innovative American musician whose work also defies categorization, both reflect on the technical mastery underlying improvisation, the blurry boundaries between movement and music-making, and the significance of gender in collaboration.     

Frances Wright: The other woman of early American feminism

This paper focuses on Frances Wright, the first woman to lecture publicly in the U.S. to “promiscuous” audiences, those audiences composed of both sexes united in a public place. Despite her achievement, Wright has been ignored in historical analyses of nineteenth‐century feminist rhetoric, I argue that historians have avoided Wright because she differs radically from those feminists who directly succeed her. As the Other Woman of the women's movement, Wright practiced a rhetoric imbued with the ideals of the Enlightenment and Owenite socialism. She publicly interrogated the cult of domesticity and demanded equal rights for women at a time when gender anxiety was Intense. Wright caused a furor and provided a negative example for later nineteenth‐century feminists, most of whom developed “womanly” strategies of accommodation. I conclude that it is precisely because of her otherness that Wright is important, historically significant because she was marginalized and silenced within the feminist movement.     

Spaces of self-consciousness: Carla Accardi's environments and the rise of Italian feminism

“Spaces of self-consciousness” examines three environments created by the Italian artist Carla Accardi in light of an emerging feminist politics. Though better known as a painter, Accardi created these three-dimensional works during an era of political and social upheaval in which her own commitment to the Italian feminist movement began to take shape. Her environments were deeply imbricated both with her own experience of autocoscienza, or consciousness-raising, as well as with radical design proposals that rejected the current state of civilization. This article examines how these environments functioned as prototypes of the transient, anti-institutional spaces that she would later create as co-founder of Rivolta femminile, a historic Italian feminist collective, and examines a previously obscure moment in Carla Accardi's career.     

‘This accursed child’: the early years of Marie Madeleine Jodin (1741-90) actress,philosophe and feminist

The childhood and early youth of Marie Madeleine Jodin (1741- 90) who later achieved some notoriety as an actress, correspondent of Denis Diderot and feminist, throws light on the lives of an artisan family in mideighteenth-century France and on the experience of one delinquent daughter. This study examines Marie Madeleine Jodin's life in relation to different categories of discrimination which she experienced; as a Protestant child, as a libertine daughter and as an actress. Her experience illustrates the workings of systems of authority employed in the eighteenth century to control young women as it impinged on an individual. It is argued that the violent familial and institutional conflicts of Jodin's early life were later reflected in her feminist treatise, Vues législatives pour les femmes (1790), which called for the establishment of a Women's jurisdiction over women. In particular her proposal to eliminate public prostitution and her attacks on the police des moeurs (morals police) have their origin in the bitter experience of her incarceration in a prison for prostitutes in her late teens. The collusion of authority (la police des moeurs) with les filles publiques came to symbolise for her the corruptions of the ancien régime     

‘Whether you are gay or straight,I don’t like to see effeminate dancing’: effeminophobia in performance-level ballroom dance

This article discusses recent responses to performances of same-sex male ballroom dancing in order to consider the subtle difference which can exist between homophobia and effeminophobia. Given that the world of performance-level ballroom dancing is a gay-friendly environment, in which many participants are openly gay identified, this article will argue that a discourse of effeminophobia, rather than homophobia, underpins the world of performance-level ballroom dance. Performance-level ballroom dance is often read as camp not only because it represents exaggerated gender roles but because its official technique requires that the male dancer synthesise codes of masculinity and femininity in his dancing. What protects the gender-dissident male ballroom dancer from being read as effeminate is that he is paired with a female body performing excessive femininity. Without the foil of the hyper-feminine female partner, the same-sex couple draws attention to the fact that the male ballroom dancer is not dancing as a man but in accordance with ballroom’s queer construction of masculinity. Given that performance-level dance has struggled for so many years to be viewed as masculine sport, practitioners may, quite understandably, be anxious about any representation which suggests that ballroom dance may be an effeminate activity.     

American Dance Pioneer Martha Graham and the Ghosts of Feminism

Abstract: The essay explores the mutual haunting between American modern dance pioneer Martha Graham and feminism. This troubling arises from the confusion between what can be considered the predominantly feminist character of Graham's life and work coupled with Graham's outright rejection of a feminist consciousness. The author suggests that this ambivalent situation allows for an ever increasing complex but fruitful discussion of Graham's possible feminist identifications and their effects. The essay first argues for the performanative force of ‘doing’ a feminist identity as a foil for Graham's public written reputation of feminism. It then charts both the changing cultural and social beliefs of and about women in the twentieth century alongside Graham's specific geographical, social, cultural and historical placement in that history and its possible impact on her processes of identification. The essay then makes a close contextual reading of one of Graham's works of the early 1930s, Primitive Mysteries (1931), to illustrate its radical conception of the female body both at the time of its premiere and over subsequent reconstructions. The author finishes by arguing that the question of Graham's feminism is an important one because it remains unanswered.     

The Personal Is Political Yet Again: Bringing Struggles between Gender Equality and Gendered Next of Kin onto the Feminist Agenda

In spite of feminist criticism of the welfare state, Norwegian society is frequently perceived as gender-equal. As a truism of public discourse, gender equality affirms a neoliberal understanding of individuals as able to act independently and to freely choose their course in life. This article disrupts that truism with an analysis of a transitional process that occurred to a seemingly free and gender-equal married woman whose everyday life took an unexpected turn at the age of 50 when her husband was diagnosed with Alzheimer’s disease. Using an abductive method, we construct a narrative with this woman as the main character. We then use the narrative as an optical device for scrutinizing encounters between the notions “free and gender-equal woman” and “gendered next of kin”, analysing the situated becoming of gender and understanding the encounters’ potential for agency and resistance. The inquiry brings a pattern of gendered encounters into being, demonstrating how a seemingly free and gender-equal woman’s strength and independence become subordinating weaknesses in encounters with the welfare state. This paradox raises questions about the politics of everyday life in a presumably gender-equal society, brings new struggles onto the feminist agenda, and demands that the personal becomes political yet again.     

The White Woman's Burden: “Feminist” War Rhetoric and the Phenomenon of Co-optation

This article takes a critical stance towards the rhetoric of protecting and liberating Afghan women in the wake of the “war on terror”, in this paper called “feminist” security rhetoric. An increased gender awareness in general and in relation to war in particular has influenced the ways in which war stories have been expressed over the last two decades. References to UN Resolution 1325, on women and security in post-conflict situations, will serve as both an indication and illustration of “feminist” security rhetoric, the co-optation phenomenon included, a practice that absorbs the meanings of the original concepts to fit into the prevailing political priorities. The rhetoric of the former Norwegian defence minister, Anne-Grete Strøm-Erichsen, is presented as a case study of this phenomenon. The Norwegian (and the Nordic) gender equality model has mainly been analysed from a welfare perspective, seldom from a post-colonial war(fare)/peace perspective. By analysing Norwegian “feminist” security rhetoric, I also want to push feminist rhetoric to create a space that is sensitive to post-colonial perspectives as well as political philosophy. I thereby intend to question both cultural relativism and aggressive cosmopolitanism dressed in various feminized outfits, aiming instead to suggest some common ground for feminist post-colonial voices to meet the voices of Western feminists who oppose the tendency to see whole cultures as internally homogeneous and almost externally sealed. These voices may together constitute a potent oppositional discourse to Western feminized security rhetoric.     

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.     

Campus Feminisms

Drawing from a long history of feminist writing grounded in personal reflection and informal dialogue between feminist thinkers, Cobb and Godden-Rasul present an email-based conversation with Jess Lishak, the outgoing Women’s Officer at the University of Manchester Students’ Union (2014–2016). The conversation draws on Cobb and Godden-Rasul’s experience as feminist academics engaged in critical institutional practice through such initiatives as editing the Inherently Human blog, organising the Inspirational Women of Law exhibition, and participating in university working groups on campus-based harassment and violence. In asking Lishak to reflect on her journey to feminism and her experiences of activism, the conversation ranges over such issues as personal influences and experiences, strategies for securing institutional support, encouraging student engagement with feminism, and campaigning tactics. The conversation developed out of a “Campus Feminisms” event in March 2016, which explored the rise of exciting new grassroots single-issue campaigns and political mobilisations by students in higher education, and was organised by Cobb and Godden-Rasul at Newcastle University, UK. Undergraduate and postgraduate students shared their personal struggles and achievements in bringing feminist ideas and campaigns to their university campuses. Lucy Morgan, the Gender Equality Officer at Newcastle University Students’ Union, offered inspiring reflections on her efforts to reinvigorate the ‘F’ word, in the face of simultaneous student apathy and backlash. Many of these campus-based mobilisations have demanded better institutional responses to sexual violence against women. At around the same time, Cobb was beginning a new role as the co-chair of the University of Manchester’s first Task & Finish Group on Sexual Violence and Harassment on Campus. This followed Universities UK’s decision to create a taskforce to consider options for improving institutional responses to student safety. In the process, Cobb crossed paths with Lishak, who had been appointed a member of the UUK Taskforce in light of her path-breaking students’ union work addressing violence against women. Since Lishak was an exemplar of this new feminist wave in higher education, one that was still inadequately understood by feminist academics despite often working side-by-side within the same institutions, the authors embarked on this conversation in order to better understand the relationship between academic and student feminist activism on campus. As Lishak makes clear in her own reflections, there is nothing inevitable about the synergies between these movements, but there is potentially a great deal that could be achieved through their closer engagement.     

Creating bodily gender in the fields of symbol and power

This article is a contribution to the ongoing process of elucidating and questioning the distinction between sex and gender in feminist theory, and the presupposition that the body and its sex are “givens”. The article argues, constructively, that the time has come for feminist sociology to re‐establish contact between the acting body and the symbolic body. The aim is to create a frame of reference in which the body, charged with symbols and power, becomes a category of transformation. The concepts “bodily gender” and “constitutive rules” and “regulative rules” are introduced as analytical tools. The theoretical reflections are bounced off empirical material on sexualized violence in a contemporary Norwegian subculture.     

Relating feminisms,nationalisms and imperialisms: Ireland,India and Margaret Cousins's sexual politics

Abstract

From 1907 to 1913 Margaret Cousins was one of the most prominent leaders of the Irish Women's Franchise League, the most militant of the various Irish suffragist groups. A Theosophist, Cousins left Ireland in 1913 for Theosophical headquarters in Madras, spurred by her commitment to “the cause of womanhood the world over”. Throughout the 1920s and 1930s Cousins played a central role in certain forms of Indian feminist and cultural nationalist movements. This article attempts to sketch some of the ways in which Cousins's class and imperial situation provoked and limited her feminist ideology.     

A chromatic presence: Barbara Hammer and “What You Are Not Supposed to Look At”

Since the 1970s, Barbara Hammer has been known for her photographs and experimental films chronicling and exploring lesbian experience. Since her 2006 diagnosis of ovarian cancer, she has ventured into an unflinching depiction of her own illness, aging, and dying. In “What You Are Not Supposed to Look At,” a 2014 collage series collaboration with Ingrid Christie, Hammer and Christie illuminate new modes of thinking about life, illness, and what we are describing the prismatic gaze: a mode of looking that subverts objectification and objectivity by positing sensuality, relationality, and spectacularity.     

Double Melancholy: The (Class) Politics of Loss in Jeanette Winterson’s Why Be Happy When You Could Be Normal?

In his essay ‘The “Uncanny”’, Sigmund Freud claims that ‘the double was originally an insurance against the extinction of the self’. The author suggests that literary writing, particularly memoir, can perform a kind of doubling, enacting this ‘self-preservation’ through ‘self-observation’. In her memoir Why Be Happy When You Can Be Normal?, Jeannette Winterson seeks to convey a ‘doubleness at the heart of things’. The author argues that this ‘doubleness’ functions on two levels, both of narrative and of politics—Winterson’s preoccupation with her subjectivity is informed by politics and her politics are structured around her subjectivity. In order to think through the text’s focus on what the author deems maternal melancholy and ambivalence, the author considers how political melancholy works through and against Winterson’s desires for self-creation. Attending to the themes of writing, loss, adoption and depression throughout, the author sustains a class analysis that is motivated by a queer feminist approach. The author argues that the text works to recall the poor/working-class body into the narrative of the bourgeois subject in order to legitimate the present self—the double—both as exceptional and as different from the other.     

Lessons from “Around the world with Oprah”: Neoliberalism,race, and the (geo)politics of beauty

On 6 October 2004, viewers went “Around the world with Oprah” and received a rare glimpse inside the lives of 30-year-old women from 17 different countries. When Oprah turned her gaze (and that of middle-class American housewives) eastward, she highlighted South Korean women's penchart for plastic surgery. Oprah's “trip” to South Korea is emblematic of Western discourse surrounding South Korean Women's plastic surgery consumption, most of which focuses on cosmetic eyelid surgery or the sangapul procedure as it is called in South Korea. Given its widespread popularity, the sangapul procedure has come to signify South Korean women's acquiescence to not only patriarchal oppression but racial oppression as well. This essay goes beyond the psychologization of South Korean women in order to ask what such psychological musings obscure about the very political nature of beauty itself. Using “Around the world with Oprah” as a starting point, then, this essay examines beauty at the intersection of race, technology, and (geo)politics in order to show that, in an era of neoliberalism, plastic surgery is often rationalized as an investment in the self towards a more normal, if not better future. As this essay suggests, such a framing of plastic surgery is contingent on Oprah's production of neoliberal feminism based on liberal notions of choice. Given her global reach, these neoliberal feminist subjects are not produced equally, however, but are discursively constructed along a First World/Third World divide.     

living a body myth,performing a body reality: reclaiming the corporeality and sexuality of the Indian female dancer

This paper investigates the dilemma that has been projected upon Indian female dancers' bodies by contemporary Indian audiences when female desire occupies the centrality of a performance and projects the female body as sexual, articulate and independent of the discipline and propriety of classicism. Locating this dilemma in the nationalist construction of Indian womanhood and femininity as ‘chaste’, this paper adopts Victor Turner's notions of liminal and liminoid phenomenon and Brechtian defamiliarization technique as a feminist strategy to construct a framework within which the contemporary Indian dancer can reclaim her sexuality in performance. To investigate the complex nationalist trope of chaste Indian womanhood, and to analyse the subversion of this trope by placing agency on the female body as sexual, I locate my argument in the discussion of The Silk Route: Memory of a Journey by Kinaetma Theatre, UK, which was performed in Kolkata in August 2004.