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.     

Feminizing Politics

Sons and Daughters of Darkness

Barry Keith Grant (ed.), The Dread of Difference: Gender and the Horror Film, Austin: University of Texas Press, 1996, £17.20 pbk.

Fin‐de‐siècle Fictions

Sally Ledger, The New Woman: Fiction and Feminism at the Fin de Siècle, Manchester: Manchester University Press, 1997, £35, £12.99 pbk.

David Glover, Vampires, Mummies and Liberals: Bram Stoker and the Politics of Popular Fiction, Durham, NC: Duke University Press, 1996, £47.50, £15.95 pbk.

Historicizing the Uncanny

Terry Castle, The Female Thermometer: Eighteenth‐century Culture and the Invention of the Uncanny, New York and Oxford: Oxford University Press, 1995, £27.50, £11.99 (pbk.).

Erotic Aesthetics

Suzanne Nalbantian (ed.), Anaïs Nin: Literary Perspectives, London: Macmillan, 1997, £40.

Topic of Cancer

Jackie Stacey, Teratologies: A Cultural Study of Cancer, London: Routledge, 1997, £45.00, £13.99 pbk.     

Pulses from the multitude: virtuosity and black feminist discourse

Using a dialogic format this conversation between two authors uses political theorist Paolo Virno's conception of the “multitude” to examine and compare two different arenas of black feminist protest that took place on social media in the latter half of 2013. As a performative article, it offers historical and theoretical background to the terms “multitude,” “public intellect,” and “virtuosic labor” in racialized capitalist formations, situating them to provide an alternative to the power of the State – an alternative that unlike the State does not claim to confer rights. The article looks at the Facebook response to a call from the Crunk Feminist Collective to white feminists to speak out on the verdict exonerating Trayvon Martin’s killer and offer counter images to those that describe Martin's killing as justified. It then looks at the public dialogue around the applicability of the term “feminism” to Beyoncé's self-titled “visual album.” Through aesthetic inquiry, the authors look at the form these examples of protest take to situate and propose the active viewing of these aesthetic forms by others on social media, as well as by the authors of this article, as a kind of virtuosic labor. The article concludes with a series of poems created using the “cut-up” technique designed to transmit feeling through subjective action and a task manifesto for white feminists to use as a guide.     

Whatever happened to the F word in higher education?

As a women's studies academic who has taught health and social care students for four years in the UK, it strikes me that much of what and how I teach is incompatible with my own pedagogic position. At a time of government cuts and economic austerity there are ever shrinking opportunities to work in women's studies environments within the higher education academy, and I often find there is a mismatch between what I am offering as an academic and what an employer is looking for. Occupying the most junior teaching post on a fixed-term contract, and coming from the discipline of women's studies – constructed often as irrelevant and/or too political and controversial, rather than a necessary philosophical foundation to critical thinking – I have diminutive curriculum influence and find myself, more often than not, delivering hegemonic groups of theories and practice. Drawing largely on level 5 health and social care interprofessional learning module course materials, this paper will analyse the discourses inscribed within them, and consequently expose the essence of the learning and teaching that takes place within the classroom. This paper will also act as a catalyst to explore whether it is possible to find, or construct, a feminist space in my learning and teaching practice.     

Pedagogical discourses of gender,peace, and equality: Jane Addams Children’s Book Awards

This article discusses a feminist critical discourse analysis research project of award-winning books of the Jane Addams Peace Association. Children’s books carry societal messages that are gendered, raced, and classed, with award-winning books carrying an additional message of exceptionality as they are viewed as deserving of attention. Thus, the discourses they circulate are important points of analysis. This research, using data from the Jane Addams Children’s Book Awards (focusing on books for older children – young adult literature), takes a feminist antimilitarist perspective to explore the sociocultural implications of children’s literature for education and learning. I examine research with respect to award-winning literature, define my theoretical framework of feminist antimilitarism, explain my methodology of feminist discourse analysis, and detail my findings. I conclude that the awards as a whole function pedagogically to define conflict in ways that privilege colonial discourses, with women represented in essentialist ways and inequality perceived as absent in the contemporary West.     

‘Throbb[ing] with a consciousness of a knowledge that appalled her’: Embodiment and Female Subjectivity in the Desert Romance

This article examines the relationship between the desert and embodiment in E. M. Hull’s international best-seller The Sheik (1919). This novel, a desert romance, has been the focus of feminist scholarship for decades because of its controversial rape narrative. Drawing on theories of embodiment, in particular the work of Elizabeth Grosz, the author interrogates how the desert is paradoxically presented as a space of liberation and oppression within which female sexuality could be explored despite the gendered violence of pre-existing patriarchal frameworks. Ultimately, the author provides a reading of Diana in terms of her transition from an androgynous ‘girl’ to a sexually desiring, seemingly feminized ‘woman’, and examines the connotations associated with this. The author establishes a connection between the transient nature of the desert and the liberation offered to women within this liminal space. Through an in-depth examination of the protagonist Diana’s corporeal subjectivity over the course of the novel, the author positions The Sheik as offering a voice to female sexuality and erotic fantasy, demonstrating Hull’s depiction of the desert as an appropriation of that space through which to explore female desires. This opens up new understandings of what constituted innovative literature in interwar Britain and marks Hull’s book, with its overtly erotic content and specific focus on female desire, as a political and social departure.     

Catherine Breillat's Romance and Anatomy of Hell: Subjectivity and the Gendering of Sexuality

French filmmaker Catherine Breillat has consistently challenged viewers to consider the ways women negotiate sexual freedom in light of numerous forces of repression. This essay considers how Breillat's depiction of women's sexuality in Romance and Anatomy of Hell simultaneously evokes abjection and empowerment. Specifically, we consider Breillat's contrast between her female protagonists and male protagonists, her treatment of women and their bodies as infused with desire yet struggling towards sexual subjectivity, and the avenues available to women to define themselves outside of hegemonic masculinity. We argue that Breillat's provocative portrayals provoke consideration of the problems inherent in hegemonic female sexuality while also offering hopeful alternatives to sexual expression, sexual freedom, and changing definitions of power and pleasure.     

Rethinking the political: Ottoman women as feminist subjects

This article examines late nineteenth century and early twentieth century Muslim Ottoman women’s journals. Drawing attention to the historical and social phenomenon of Ottoman Muslim women’s print culture, the author argues that women’s writings and activism around these journals functioned as a significant feminist public sphere that built a community of women’s discourse. Women’s journals established a real community of intellectual women writers and readers who overtly promoted a feminist agenda in the public sphere. Thus, they envisioned and created alternative roles for upper middle class and middle class Ottoman women. Contrary to the conventional narrative of Turkish feminism that identifies its origin with the Republican period, it was Ottoman women’s periodicals and associations that laid the groundwork for future feminists in the Republican period. In providing an analysis of these magazines, the author explores a class of now nearly forgotten publications that, she argues, created a feminist discourse in their time.     

Women’s Organizations of Political Parties: Formal Possibilities,Informal Challenges and Discursive Controversies

Feminist research focusing on gender policy successes in the 1990s and 2000s emphasized the strengths of women’s organizations of political parties in advancing key gender equality issues in Finland. However, both the “feminism” and “politics” of political parties’ women’s organizations, hitherto apparent in Finland and elsewhere in Europe, are now deemed outdated, a paradox that is critically explored in this article. The analysis is based on interview data with women and men politicians and party workers and is structured around the key research question: how are the women’s organizations of political parties discursively constructed by the interviewed politicians and party workers and with what effects? These discursive constructions are studied in relation to: (i) the formal institutional position of the women’s organizations of political parties, (ii) informal institutional position vis-à-vis the mother party, and (iii) discursive controversies surrounding their feminism and politics. The discourse analysis reveals the contradictions and challenges faced by women’s political organizations in contemporary politics.     

Heresies’ Heresies: Collaboration and Dispute in a Feminist Publication on Art and Politics

Abstract

In the 1970s magazines, journals and periodicals constituted an alternative public sphere for second wave feminism. These publications provide an index—and at times the only documentation—of the activities of the women’s art movement as well as its many iterations and divisions. This article addresses this imbalance, arguing that Heresies: A Feminist Publication on Art and Politics (1977–1992) was exemplar of the radical political challenge feminism posed to the art world and culture more broadly. Launched in 1977 by the Heresies mother collective, which included Joan Braderman, Mary Beth Edelson, Lucy R. Lippard, Harmony Hammond and May Stevens among others, the magazine had thematic issues edited by different collectives and was comprised of material from an open call. Content ranged from poetry, to academic essays, to artworks both original and reproduced. This article considers the collaborative process of producing the magazine, which attempted to be inclusive, but in fact came to mirror the divisions—as well as political investments—of the broader women’s movement, alongside the dissensus the publication provoked and attempted to confront.