Introduction: Toward a New Understanding of Second-Wave Feminism

2018 ◽  
pp. 1-18
Author(s):  
Angie Maxwell ◽  
Todd Shields
Keyword(s):  
Second Wave Feminism ◽  
Second Wave

Carole King's Tapestry

2021 ◽  
Author(s):  
Loren Glass
Keyword(s):  
Cultural History ◽  
Music Industry ◽  
Professional Autonomy ◽  
Male Dominance ◽  
Riot Grrrl ◽  
The Third ◽  
Women's Music ◽  
Second Wave Feminism ◽  
Historic Significance ◽  
Second Wave

Carole King’s Tapestry is both an anthemic embodiment of second-wave feminism and an apotheosis of the Laurel Canyon singer-songwriter sound and scene. And these two elements of the album’s historic significance are closely related insofar as the professional autonomy of the singer-songwriter is an expression of the freedom and independence women of King’s generation sought as the turbulent sixties came to a close. Aligning King’s own development from girl to woman with the larger shift in the music industry from teen-oriented singles by girl groups to albums by adult-oriented singer-songwriters, this volume situates Tapestry both within King’s original vision as the third in a trilogy (preceded by Now That Everything’s Been Said and Writer) and as a watershed in musical and cultural history, challenging the male dominance of the music and entertainment industries and laying the groundwork for female dominated genres such as women’s music and Riot Grrrl punk.

scholarly journals Imported feminism: problematizing the Westernized image of the feminist in Arab social media

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Ramy Magdy ◽  
Maries Mikhael ◽  
Yassmine G. Hussein
Keyword(s):  
Social Media ◽  
New Media ◽  
Real Time ◽  
Arab Women ◽  
Content Type ◽  
Second Wave Feminism ◽  
Women Experiences ◽  
Facebook Pages ◽  
The Impact ◽  
Second Wave

Purpose This paper aims to analyze the discourse of Arab feminism social media pages as a form of real-time new media. This is to be conducted culturally to understand the Westernized character these pages tend to propagate and the politico-cultural significations of such a propagation. Design/methodology/approach Using visual and content analysis the paper analyzes both the written and visual contents of two popular Arab feminist Facebook pages, “Thory” and “Feminist doodles” to explore its culture relevance/Westernization via the categories of “re-employing the binary second wave feminism, the historical relevance and the Westernized tone of both pages. Findings The pages showed a tendency toward second wave, Westernized, anti-orient feminism. Such importation of feminism made the pages’ message not only a bit irrelevant but also conceptually violent to a large extent. Starting from alien contexts, the two pages dislocate the Arab women experiences of their situation for the sake of comprehending and adapting to heavily Westernized images. Originality/value The paper contributes to the ongoing debate over the gender issue in the Arab context after 2011, what it originally offers is discussing the cultural relevance of popular feminist Facebook pages claiming to represent the everyday struggles of the Arab women. In addition, it shows the impact of real-time media on identity formulation.

scholarly journals “The Handmaid’s Tale”: a legal-literary essay

2019 ◽  
Vol 5 (1) ◽  
pp. 125-147
Author(s):  
Clarice Beatriz da Costa Söhngen ◽  
Danielle Massulo Bordignon
Keyword(s):  
Gender Inequality ◽  
Margaret Atwood ◽  
The United States ◽  
Legal Aspects ◽  
The Novel ◽  
Legal Provisions ◽  
Second Wave Feminism ◽  
History Of ◽  
Fictional Space ◽  
Second Wave

This paper proposes an analysis of the legal aspects present in the narrative of “The Handmaid´s Tale”, a novel by Margaret Atwood. First published in 1985, and heavily influenced by second-wave feminism, “The Handmaid´s Tale” addresses, mainly, the matter of gender inequality, once it creates a reality in which fertile women are compelled to reproduce through a servitude system. Through a rupture with the Cartesian dichotomy whose dualist notion separates objectivity from subjectivity, reason from emotion, this paper exposes that this oppression is not a literary creation by Atwood, but a reproduction of the power relations put forward in the history of humankind. In this regard, it is explored how Literature can aid the Law in facing the questions that come up in the resolution of legal and social problems. Besides gender inequality, it is possible to spot in the novel several violations concerning the principle of human dignity. Therefore, this research analyzes the legal provisions taken in the fictional space of Gilead, as well as in the country that preceded it, the United States of America, as well as in Brazil. In addition, it studies the symbolic violence to which women are submitted in Gilead and how it relates to the experiences lived by contemporary Brazilian women.

Write Your Mother

2016 ◽  
Author(s):  
Amanda C. Seaman
Keyword(s):  
Literary History ◽  
Japanese Women ◽  
The Self ◽  
The Other ◽  
Pregnancy And Childbirth ◽  
Second Wave Feminism ◽  
Meiji Era ◽  
History Of ◽  
The 1960S ◽  
Second Wave

This chapter traces the literary history of Japanese women writing about pregnancy and childbirth, focusing on two key figures in this development. The first is Meiji-era poet Yosano Akiko whose works explored her experiences as an expectant mother and highlighted the unsettling aspects of pregnancy. While Yosano’s works permitted the literary treatment of formerly taboo issues, later writers rejected her lead, instead treating pregnancy as the prelude to motherhood, as a quasi-sacred moment. This persisted until the 1960s and 70s, when writers influenced by second-wave feminism challenged patriarchal society, rejecting the roles of wife and mother. The second was Tsushima Yuko, whose novels and stories explored alternative, mother-centered family models. Since then, writing about pregnancy rests on these two authors: on one side, treatments of pregnancy that emphasize the alien and the disquieting, and on the other, more ironic works, focusing upon the self-assertive and individualistic nature of childbearing.

Introduction

2016 ◽  
Author(s):  
Avril Horner ◽  
Sue Zlosnik
Keyword(s):  
Female Gothic ◽  
Second Wave Feminism ◽  
Feminist Perspectives ◽  
Younger Generation ◽  
Second Wave

Since the early debates about ‘Female Gothic’ in the 1970s and 1980s, inspired by Second-Wave Feminism, the theorisation of gender has become increasingly sophisticated and has resulted in a long interrogation of the category ‘woman’. There was, however, a political price to pay for this, in so far as feminism gave way to the problematics of post-feminism, now itself being interrogated by a younger generation of women. The contributors in this volume tackle such conundrums in lively chapters that explore Gothic works – from established classics to recent films and novels – from feminist and/or post-feminist perspectives. The result is a book that combines rigorous close readings with elegant use of theory in order to question some ingrained assumptions about women, the Gothic and identity....

Hollywood Can’t Wait: Elaine May and the Delusions of 1970s American Cinema

2019 ◽  
pp. 41-62
Author(s):  
Maya Montañez Smukler
Keyword(s):  
Women Directors ◽  
Female Characters ◽  
American Cinema ◽  
New Hollywood ◽  
Second Wave Feminism ◽  
Feminist Film ◽  
The 1960S ◽  
First Time ◽  
Second Wave ◽  
Made In

Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.

“Can You Kill”

2019 ◽  
pp. 119-138
Author(s):  
Nadine M. Knight
Keyword(s):  
Cultural Production ◽  
Women's Literature ◽  
Black Communities ◽  
Mutual Respect ◽  
Black Feminist ◽  
Sexual Freedom ◽  
Black Arts ◽  
Second Wave Feminism ◽  
Popular Audience ◽  
Second Wave

Black women’s cultural production in the 1970s gained popular audience and critical acclaim for its frank disclosure of violence and inequity within black communities and by championing black feminist agency. This chapter situates black women’s literature and art in response to three intersecting sociopolitical movements roiling the nation: Black Power and Black Arts Movements, the emergence of second-wave feminism, and American involvement in Vietnam. The works in this chapter overturned long-standing expectations and stereotypes of respectability politics in depicting graphic, militarized violence; sexual openness; and skepticism about motherhood. In doing so, these works explored the attractions and shortcomings of militancy as a defense against domestic and national violence and promoted mutual respect between genders, sexual freedom, and the possibility of collaborative protest.

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