scholarly journals A feminist genealogy of posthuman aesthetics in the visual arts

2016 ◽  
Vol 2 (1) ◽  
Author(s):  
Francesca Ferrando
Keyword(s):  
The Body ◽  
Third Wave ◽  
Avant Garde ◽  
The Arts ◽  
Second Wave Feminism ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One ◽  
Fourth Wave ◽  
Second Wave

Abstract This article aims to reassemble a feminist genealogy of the posthuman in the arts, with a specific focus on the visual works conceived by female artists after the rise of what has been retrospectively defined as first-wave Feminism. Starting with the main avant-garde movements of the first half of the twentieth century—specifically, Futurism, Dadaism and Surrealism—this genealogy analyses the second-wave Feminism of the 1960s and 1970s, with its integral exploration of the body highlighted by performance art. Following this, it takes into account the third-wave Feminism of the 1990s and its radical re-elaboration of the self: from Cyberfeminism and its revisitation of technology, to the artistic insights offered, on the one side, by critical techno-orientalist readings of the futures, and on the other, by the political and social articulations of Afrofuturism and Chicanafuturism. Lastly, this genealogy accesses the ways contemporary female artists are dealing with gender, social media and the notion of embodiment, touching upon elements that will become of key importance in fourth-wave Feminism. This article is published as part of a collection dedicated to multi- and interdisciplinary perspectives on gender studies.

scholarly journals Philosophical Legal Ethics: An Affectionate History

2017 ◽  
Author(s):  
David Luban ◽  
W. Bradley Wendel
Keyword(s):  
Third Wave ◽  
Behavioral Ethics ◽  
Legal Ethics ◽  
Legal Representation ◽  
Role Morality ◽  
Modern Subject ◽  
The Subject ◽  
1960S And 1970S ◽  
The 1960S ◽  
Second Wave

30 Georgetown Journal of Legal Ethics 337 (2017)The modern subject of theoretical legal ethics began in the 1970s. This brief history distinguishes two waves of theoretical writing on legal ethics. The “First Wave” connects the subject to moral philosophy and focuses on conflicts between ordinary morality and lawyers’ role morality, while the “Second Wave” focuses instead on the role legal representation plays in maintaining and fostering a pluralist democracy. We trace the emergence of the First Wave to the larger social movements of the 1960s and 1970s; in the conclusion, we speculate about possible directions for a Third Wave of theoretical legal ethics, based in behavioral ethics, virtue ethics, or fiduciary theory.

scholarly journals James Bond’s Biopolitics

Humanities ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 62
Author(s):  
Wieland Schwanebeck
Keyword(s):  
Population Control ◽  
The Body ◽  
The Other ◽  
Biological Processes ◽  
James Bond ◽  
Secret Service ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One

This chapter traces Foucauldian technologies of power in the James Bond universe and characterises the Bond franchise’s biopolitics in the cultural environment of the 1960s and 1970s, when 007 became a mass phenomenon. The majority of the chapter is dedicated to a case study of On Her Majesty’s Secret Service, Ian Fleming’s tenth Bond novel (1963) and the sixth film in the EON series (1969). The chapter highlights the intersection between reproduction and fertility on the one hand and the infliction of death and mass genocide on the other, and it examines how James Bond juxtaposes the disciplinary means that are directed against the body (as an organism) on the one hand, and the state-powered regulation of biological processes that control the population on the other. The two versions of On Her Majesty’s Secret Service amount to the franchise’s most straightforward foray into the realm of biopolitics and would pave the way for the franchise’s subsequent biopolitical and eugenic moments, like when the figure of the genocidal villain gets to articulate the franchise’s own subliminal agenda regarding population control and the future of the (British) species.

‘Whoever She Was’

2020 ◽  
pp. 251-270
Author(s):  
Jane Thomas
Keyword(s):  
Judith Butler ◽  
The Self ◽  
Third Wave ◽  
Wave Focusing ◽  
Avant Garde ◽  
The Third ◽  
Second Wave Feminism ◽  
Second Wave

Critical appreciation of Penelope Mortimer’s A Villa in Summer (1954), The Bright Prison (1956), Daddy’s Gone A-Hunting (1958), and The Pumpkin Eater (1962) has been largely limited to biographicalism and Mortimer’s perceived anticipation of Betty Friedan’s ‘feminine mystique’. Jane Thomas reveals how, in their extraordinary and illuminating grasp of the signifying practices that constitute the self, these early novels gesture beyond second wave feminism in their anticipation of some of the seminal concepts of gendered subjectivity pioneered by theorists such as Judith Butler in the third wave. Focusing on the centrality of narrative practices to the construction of the self, Thomas also highlights a hitherto unremarked intertextual connection between The Pumpkin Eater and Carol Ann Duffy’s ‘Whoever She Was’, demonstrating what was truly original and avant garde about Mortimer’s work.

scholarly journals FRACTURING THE PRIVATE-PUBLIC DIVIDE THROUGH ACTION

2021 ◽  
Vol 4 ◽  
pp. 153-174
Author(s):  
Teresa Hoogeveen
Keyword(s):  
Second Wave Feminism ◽  
Private And Public ◽  
1960S And 1970S ◽  
The 1960S ◽  
Second Wave

Feminism in the 1960s and 1970s was innovative and productive, despite its tendency—similar to that of previous emancipatory movements—to forget its past. This paper proposes Françoise Collin’s notion of transmission as a fruitful relationship with which to palliate this tendency and to propel women as innovative participants in the symbolic. In order to do this, I analyze Les Cahiers du Grif, the first francophone magazine of “second-wave” feminism, as an example of how women’s actions in their plurality fractured the division between private and public as presented by Arendt and thus produced a fertile corpus for disciplines in the humanities. To close, I argue that the difficulties presented by this corpus are a positive consequence of the magazine’s plurality, as well as a worthy legacy that transmission challenges us to focus on.

Tools of Transformation: Appropriate Technology in U.S. Countercultural Literature

2012 ◽  
Vol 44 (2) ◽  
pp. 75-93
Author(s):  
Peter Mortensen
Keyword(s):  
Low Cost ◽  
Appropriate Technology ◽  
Small Scale ◽  
Environmental Transformation ◽  
Buckminster Fuller ◽  
1960S And 1970S ◽  
The 1960S ◽  
Environmentally Sound ◽  
User Friendly ◽  
Second Wave

This essay takes its cue from second-wave ecocriticism and from recent scholarly interest in the “appropriate technology” movement that evolved during the 1960s and 1970s in California and elsewhere. “Appropriate technology” (or AT) refers to a loosely-knit group of writers, engineers and designers active in the years around 1970, and more generally to the counterculture’s promotion, development and application of technologies that were small-scale, low-cost, user-friendly, human-empowering and environmentally sound. Focusing on two roughly contemporary but now largely forgotten American texts Sidney Goldfarb’s lyric poem “Solar-Heated-Rhombic-Dodecahedron” (1969) and Gurney Norman’s novel Divine Right’s Trip (1971)—I consider how “hip” literary writers contributed to eco-technological discourse and argue for the 1960s counterculture’s relevance to present-day ecological concerns. Goldfarb’s and Norman’s texts interest me because they conceptualize iconic 1960s technologies—especially the Buckminster Fuller-inspired geodesic dome and the Volkswagen van—not as inherently alienating machines but as tools of profound individual, social and environmental transformation. Synthesizing antimodernist back-to-nature desires with modernist enthusiasm for (certain kinds of) machinery, these texts adumbrate a humanity- and modernity-centered post-wilderness model of environmentalism that resonates with the dilemmas that we face in our increasingly resource-impoverished, rapidly warming and densely populated world.

Structural Transformation and Inclusive Growth

2018 ◽  
Author(s):  
Andy Sumner
Keyword(s):  
Structural Transformation ◽  
Global Economy ◽  
Focal Point ◽  
Import Substitution ◽  
National Development ◽  
Inclusive Growth ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One ◽  
Import Substitution Industrialization

This chapter reviews currents in theory with a focus on modernization and neoclassical statements of comparative advantage on the one hand, and structuralism, dependency, and other theories of underdevelopment on the other. The latter theories of underdevelopment hit their zenith in the policies of the import-substitution industrialization of the 1960s and 1970s. They were largely dismissed in the 1980s as the limits of import-substitution industrialization became apparent and as East Asia industrialized, undermining any argument that structural transformation was problematic in the periphery. This chapter theorizes that neither orthodox nor heterodox theories of structural transformation adequately explain the development of late developers because of the heterogeneity of contemporary capitalism. That said, heterodox theories, which coalesce around the nature of incorporation of developing countries into the global economy, do retain conceptual usefulness in their focal point, ‘developmentalism’, by which we mean the deliberate attempts at national development led by the state.

SEEING AND HEARING DISABILITY IN MAURICIO KAGEL'S REPERTOIRE FROM STAATSTHEATER

Tempo ◽  
2021 ◽  
Vol 75 (296) ◽  
pp. 7-20
Author(s):  
Bethany Younge
Keyword(s):  
Disability Studies ◽  
Social Institutions ◽  
The Body ◽  
Avant Garde ◽  
Hearing Disability ◽  
Physical Action ◽  
The One ◽  
Traditional Roles

AbstractThis article adopts a disability studies perspective to evaluate the ways in which Mauricio Kagel's Repertoire from Staatstheater reimagines human bodies. Objects and bodies interact in myriad ways within the one hundred vignettes of Repertoire: some objects hinder or aid the bodies on stage, while others become incorporated within the body, acting as a single expressive unit. My analysis demonstrates the ways in which both objects and bodies transform their traditional roles as ascribed by society, rejecting procrustean physiques. Using disability studies concepts such as embodiment and experientialism I evaluate sound and physical action as inextricable expressions of imaginative corporealities. Reflecting upon Kagel's identity as an outsider of the European avant-garde, as well as his irreverence for oppressive social institutions, I evince that other forms of hierarchical disruptions are at play, namely that abled bodies do not preside over disabled ones and notions of beauty hold no clout.

The Revival of Quantification: Reflections on Old New Histories

2021 ◽  
Vol 45 (1) ◽  
pp. 1-25
Author(s):  
Steven Ruggles
Keyword(s):  
Twentieth Century ◽  
Social History ◽  
Economic History ◽  
Historical Analysis ◽  
The United States ◽  
First Century ◽  
Third Wave ◽  
Late Twentieth ◽  
The 1960S ◽  
Second Wave

AbstractQuantitative historical analysis in the United States surged in three distinct waves. The first quantitative wave occurred as part of the “New History” that blossomed in the early twentieth century and disappeared in the 1940s and 1950s with the rise of consensus history. The second wave thrived from the 1960s to the 1980s during the ascendance of the New Economic History, the New Political History, and the New Social History, and died out during the “cultural turn” of the late twentieth century. The third wave of historical quantification—which I call the revival of quantification—emerged in the second decade of the twenty-first century and is still underway. I describe characteristics of each wave and discuss the historiographical context of the ebb and flow of quantification in history.

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.

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.

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