Bedtime

In a review of the responses to British artist Tracey Emin's exhibition of her own bed as an artwork nominated for the 1999 Turner Prize, Merck considers it as a figure of the personal trauma said to be constitutive of subjectivity in the decade. Reviewing theorists of the period including Hal Foster, Marc Augé and Wendy Brown, she considers the artist's work as an illustration of individual isolation assuaged by narcissism. Must the woman artist function as the victim of her own cult of celebrity? In the ensuing months since her nomination, Emin's changing circumstances suggest that other fates- and other histories- may be possible.     

Eve Drewelowe: feminist identity in American art

Eve Drewelowe (1899–1988) was an American artist who attended the University of Iowa, where she received a BA in Graphic and Plastic Arts in 1923. During these early years when university art programs were being established, Drewelowe became the first person to receive an MA in art from the University of Iowa; one of the first people to receive such a degree in the United States. Drewelowe reinvented herself throughout her life and her artwork reflects a current knowledge of modern styles that emerged in the twentieth century. Drewelowe exhibited under the name Eve Drewelowe Van Ek shortly after her marriage in 1924 until the early 1950s, when she chose to resume using only her own surname. During the three intervening decades, her signature varies from one artwork to the next. In some instances, the artist later rubbed out or painted over the ‘Van Ek’ with little attempt to conceal the change, leaving a visual indicator of the artist's identity struggles. Her personal papers also reflect the challenges she faced reconciling public expectations of her role as the wife of a university dean with her profession as an artist. This essay considers the ways Drewelowe performed her identity as an artist in order to maintain her personal autonomy against the backdrop of the male dominated social and artistic world.     

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.     

Making It Up with the Motherland: Revision and Reconciliation in Edna O'Brien's The Light of Evening

This article explores the relationship between the Irish woman writer and exile and return in Edna O'Brien's recent novel The Light of Evening (2006). This work, dedicated as it is ‘To my mother and my motherland’, represents a new chapter in O'Brien's configuration of the connection between the Irish woman writer and the image of Ireland as a place from which escape is a necessary step towards creative freedom. The Light of Evening contains a web of subtle allusions that invite a reading of the novel as a statement of O'Brien's allegiances with the English and Irish literary traditions. Ultimately, however, it foregrounds the quotidian world of the main character's home place—one represented fully in her mother's letters—as the key source of inspiration for the Irish woman writer. The article examines how relationships with the literary past are mapped onto familial ties in the novel, as O'Brien seems to move away from the Joycean promise of creative exile towards a more hopeful reading of the relationship between the Irish woman writer and her ‘motherland’.     

Maeve Kelly and new Irish women writing

Until quite recently, the Irish woman in Irish fiction has been largely the creation of male Irish writers, and—with few exceptions—a general archetype of a religious, disappointed and passive woman has prevailed. However, in the last few years, there has been a sudden and exciting emergence of new Irish women writing, and with this, a marked change in the image of Irish women in this new fiction. Maeve Kelly is an outstanding example of this new type of female writer, and there is a very interesting development in the Irish women she portrays in her short stories. The passive martyr has given way to a woman who actively struggles against her environment.The work of these new women writers reflects the changed position of Irish women in Irish society today.     

Editorial voices

Jack Smith is an artist on the margins of official narratives of art of the 1960s. This essay attempts to read his works as a means of questioning the challenges posed to normative readings of the work of culture, by presenting ideas about queer performance. Smith's almost hysterical identification with Maria Montez, a 1940s film siren, is privileged in my reading. Her key film, Cobra woman, turns on the image of a wound that will not heal. In this essay, I read the wound as signaling the breaches in our attempts at full communication, and compare this state of being to the idiosyncratic form of the camp effect, which functions as a kind of hieroglyph, or broken sign. Read through Maria Montez, the ‘failures’ of Smith's practice are explored in order to invogorate the seemingly exhausted discourse on camp, as well as to pose a critique of the ways in which certain bodies are failed by dominant culture.     

Same Path,Different Purpose: Chopin’s La Folle and Welty's Phoenix Jackson

In her collection of lectures entitled Playing in the Dark (1992), Toni Morrison argues that "[t]he ways in which artists-and the society that bred them-transferred internal conflicts to a 'blank darkness,' to conveniently bound and violently silenced black bodies, is a major theme in American literature" (38). Among other instances, Morrison catalogs works by Cather, Hemingway, and Poe as examples of this transference. Black characters in American literature are not simply studies in blackness, however. Instead, by examining these examples of writing black (i.e., white authors creating black characters) we can learn, surprisingly, a great deal about whiteness, Morrison suggests. Additionally, there is a good deal we can learn about the authors. To wit, Morrison's concern is for "how Africanist personae, narrative, and idiom moved and enriched the text in self-conscious ways, to consider what the engagement meant for the work of the writer's imagination" (16). For my purposes, such an undertaking of looking at the artwork and assessing its reflection of the artist seems quite rich, especially when we consider the undeniably loaded issue of race.     

Australian news media’s representation of Cate McGregor,the highest ranking Australian transgender military officer

To date, no academic analysis has investigated the representation of transgender individuals by Australia’s news media (ANM). This paper conducts a discourse analysis of ANM’s representation of Cate McGregor, the highest ranking Australian transgender military officer. The author offers this analysis as a case study in which 28 articles were selected from a three-year period, beginning November 2012, when McGregor ‘came out’. By employing a feminist and transgender theory framework the author concludes that, on the one hand, ANM reproduces traditional transgender tropes (e.g. publishing ‘before/after’ photographs). On the other hand, ANM gives voice to McGregor’s views pertaining to living as a woman and a transgender woman, which are aligned with transgender theory. Thus, this author argues that ANM engages in a remediation of transgender theory. McGregor acknowledges that she has enjoyed the privilege of being socialized as a man and therefore her life as a woman, a transgender woman is different to other women. Moreover, as an ‘out’ transgender woman she is refusing to ‘pass’ and hide her sex/gender history. Subsequently, McGregor views on what it means to be a man, a woman, and a transgender woman, are disruptive to sex/gender normativities and she thereby embodies a ‘gender fuck’.     

Gender awareness,symptom expressions and Irish mental health-care provision

Irish mental health policy and care provision is criticised for being gender-neutral despite gender being present in almost every aspect of illness; from risk to protection; symptom interpretation; diagnosing, ideology and knowledge of illnesses. The aim of this paper was to present the views of Irish service users and providers in relation to symptom expressions, gender awareness and care provision. A qualitative social realist design was used using Layder's (1998) adaptive theory and social domains theory. In-depth interviews (n = 54) with 26 service users and 28 service providers were conducted within one mental health service in Ireland. Dominant societal expectations for men and women are described in response to symptom expressions that reflect ‘categorical’ and ‘performative’ understandings of gender. A return of interest to symptoms-based research and practice from a gendered perspective is argued for.     

FEMININE SEXUALITIES IN CHICK LIT

Feminists have offered highly contested readings of whether the depiction of active feminine sexual subjectivities in some popular cultural genres is progressive or regressive in feminist terms. This article aims to contribute to these debates by exploring representations of women's sexualities in a selection of texts by Marian Keyes, a popular Irish writer of contemporary fiction for women, known as chick lit. Following Charlotte Brunsdon, our study looks specifically for evidence of feminine sexual agency in these texts. The analysis reveals that Keyes's women are proactive in trying to stake out their own sexual territory in an assertive and fun-loving way. Their final efforts, though, look remarkably conventional in the form of heterosexual monogamous relationships, suggesting in feminist terms that these cultural shifts in representations are neither straightforwardly progressive nor regressive.     

Imagining Mary in Theology and Visual Culture: Between Constraint and Resistance

This contribution focuses on the Virgin Mary’s continued relevance as a polyvalent signifier that straddles the secular-religious divide. Interlacing feminist theology and visual studies, I trace Mary’s ambiguous significance between oppression and liberation, and between religious and secular realms in texts and images. The extended analysis of the contemporary transformation of the traditional motif of the Guadalupe in the digital collage Our Lady (1999) by Chicana artist Alma López shows that contemporary reimaginations of Mary as a self-confident woman at one with her body and sexuality both echo and reinforce tendencies in feminist theology. Combining religious and cultural dimensions, the work and reactions to it uncover the intricate ways in which religion has shaped and continues to shape cultural views of gender, both in terms of consolidating a binary, hierarchical gender order and providing a source of alternative visions.     

‘We must give them an education,large, liberal and comprehensive’. Catherine Vale Whitwell: teacher,artist, author,feminist and Owenite communitarian

This article was provoked by the author’s conviction that its subject was a great deal more significant than a marginalised woman on the fringes of Owenism, the reformist movement promoted by Robert Owen during the early nineteenth century. It examines the life of Catherine Whitwell, formally identified in studies of Owen and in histories of education as teacher cum artist in the school at New Lanark, Owen’s factory community in Scotland, and also one of several women writers on astronomy. Otherwise little was known of her activities or the contexts in which they occurred. There are many gaps in the record and her footprint is often illusive, but much new information in widely dispersed archives, periodicals, digitised newspapers and secondary sources helps cast further light on her background, a career embracing work as proprietor of girls’ schools, author of works on astronomy and mathematics, promoter of sciences for women, advocate of women’s education, artist and communitarian. The context of Whitwell’s work is reviewed with reference to recent relevant literature and followed by a case study explaining her association with Owen, speculating on her role in visualising his plans for communities of co-operation designed to relieve distress and create greater equality, then describing her teaching career both at New Lanark and later at Orbiston, the first British Owenite community near Glasgow. The study concludes with a brief review of her post-Owen work running girls’ schools and an assessment of her role in the development of education and disseminating knowledge, particularly for young middle class women and working class children in the first half of the nineteenth century.     

Sonia Delaunay: Fashioning the Modern Woman

Focusing on questions of gender and modernity, Gronberg examines representations of Simultaneous fashions designed by the Paris-based artist Sonia Delaunay in the German illustrated press of the 1920s. Simultaneous dress was presented as a means of rendering woman 'modern' both through fashion and through association with Parisian artistic avant-gardism. Gronberg explores the figure of the fashionably dressed Parisian femme moderne in relation to 1920s concepts of the neue Frau. The identity of Sonia Delaunay as an artist turned professional designer marked her out as a 'modern woman' and was crucial in the promotion of Simultaneity to international audiences. Delaunay's persona as a 'modern woman' also related to her status as a wife. The German press depicted Sonia Delaunay and her husband, the painter Robert Delaunay, as a Knstlerehepaar, an artist-couple exemplifying contemporary notions of 'companionate marriage'. Gronberg shows how such concepts of the modern woman were important not only in marketing Sonia Delaunay's fashions but also in claims for Robert Delaunay's post-war painting as a renewed form of avant-gardism. The essay concludes by considering Paris as a milieu in which women interacted with each other professionally-as writers, artists and photographers-engaging with and reformulating the visual imagery of modernity. The production, promotion and consumption of Simultaneous fashion during the 1920s reveals the 'modern woman' as both subject and object of representation. A preoccupation with fashion could be as much to do with challenging and overcoming, as with acquiescing to, stereotypes of femininity.     

Deconstructing Whiteness: Irish Women in Britain

The Irish are largely invisible as an ethnic group in Britain but continue to be racialized as inferior and alien Others. Invisibility has been reinforced by academic treatment. Most historians have assumed that a framework of assimilation is appropriate and this outcome is uncritically accepted as desirable. Sociologists on the other hand have excluded the Irish from consideration, providing tacit support for the ‘myth of homogeneity’ of white people in Britain against the supposedly new phenomenon of threatening (Black) ‘immigrants’.Focus on the paradigm of ‘colour’ has limited the range of racist ideologies examined and led to denial of anti-Irish racism. But an analysis of nineteenth-century attitudes shows that the ‘Irish Catholic’ was a significant Other in the construction of the British nationalist myth. Despite contemporary forgetting, hostility towards the Irish continues, over and above immediate reactions to recent IRA campaigns. Verbal abuse and racial harassment are documented in London and elsewhere, but unacknowledged.The masculine imagery of ‘Paddy’ hides the existence of Irish women in Britain, although they have outnumbered men since the 1920s. In America, by contrast, there is a strong stereotype of ‘Bridget’ and her central contribution to Irish upward mobility is recognized. But invisibility does not protect Irish women in Britain from racism. Indeed, they are often more exposed since their productive and reproductive roles connect more firmly to British society. Moreover, women have played a key role in maintaining Catholic adherence, which continues to resonate closely with Irishness and difference.     

Adolescent conceptions of the homeland: A cross-cultural study

Irish (135) and United States (123) subjects, aged from 8 to 17 years, wrote essays on their respective homelands. A content analysis revealed that American subjects, as they grow older, identify the homeland increasingly with its political ideals, while Irish subjects identify theirs with certain psychological ideals which they associate with the rural culture and landscape. Irish essays tended to be longer and more varied, and they showed a higher level of affective development. Profiles of the homeland on 7 semantic differential scales showed the break-up of a halo effect in the Irish sample. Adolescents in both countries showed a transition from concrete to abstract topics with age. The implications of these findings for research on the adolescent self-image are discussed.     

Contemporary Women’s Autofiction as Critique of Postfeminist Discourse

ABSTRACT

While commentaries on the phenomenon of postfeminism have centred on its manifestations in media and popular culture, this article highlights the potential of literature for extending existing debates within postfeminist studies. I argue that the emergence of contemporary women’s autofiction offers the possibility of a literary response to the individualising narrative of a neoliberal and postfeminist sensibility. I advance this contention via an analysis of two texts: Sheila Heti’s How Should A Person Be? (2012) and Jenny Offill’s Dept. of Speculation (2014). Their writing practice is resolutely political because it employs the confessional mode, as indebted to the emancipatory roots of the feminist movement, to reflect on the enduring marginality of female artistic identity. By foregrounding the inherently provisional nature of their being, both texts emphasise that the search for a viable artistic consciousness and experiments in artistic method are as crucial as the final product itself, especially when the definition of woman as artist still remains contested. I thus locate the existence of these texts in a wider social imaginary conducive for feminist organising. In this respect, the rising popularity of contemporary women’s autofiction may offer strategies crucial for remediating an otherwise diminished feminist politics of the present.     

Dilemmas and Developments: Eavan Boland Re-examined

In ‘The Woman Poet: Her Dilemma’ (1986–7), the Irish poet Eavan Boland argued that women poets were obstructed on the one hand by traditional ideas of femininity and poetry, and on the other by the demands of separatist feminism. In ‘Dilemmas and Developments: Eavan Boland Re-examined’ Sarah Maguire argues that in recent years women poets have clearly achieved greater confidence as a result of changes in their audience. However, the underlying dilemma facing a woman poet – that of the tension between the demands of femininity and the role expected of a post-Romantic lyric poet – continues to remain unresolved.     

Land,kinship and identity: The cultural roots of agrarian agitation in eighteenth‐ and nineteenth‐century Ireland

This paper seeks to uncover the underlying causes of agrarian agitation in eighteenth‐ and nineteenth‐century Ireland. It argues, in contrast to existing explanations, that rural unrest was a highly complex form of popular protest, disciplined and with clear objectives. These objectives centred on the Irish peasantry's defence of traditional rights and customs with regard to the ownership, occupation and use of the land. It is further argued that these rights and customs were in turn grounded upon a system of social norms, beliefs and obligations which governed the relationship between land, kinship and identity in Irish peasant communities.     

‘I Won't Go Back to It’: Irish Women Poets and the Iconic Feminine

This paper explores the dynamic interaction between contemporary Irish women poets and the notion of tradition in Irish poetry. Looking at the work of Eavan Boland, Susan Connolly, Paula Donlon, Mary Dorcey, Paula Meehan and Nuala Ní Dhomhnaill, the paper suggests that women poets today are subverting tradition and destabilizing a conventionally accepted fusion of the feminine with the national. This is achieved through direct challenge, through dislocation and through establishing a dialogue between the mythical and the real in the context of the lived experience of women in Ireland. Finally, the paper suggests the potential for civil and social effect of the work of women who engage consciously in the process of giving women an active voice.