Problems of authenticity in expressive work

2019 ◽  
pp. 94-111
Author(s):  
Nicholas Owen
Keyword(s):  
Women's Liberation ◽  
Women's Suffrage ◽  
Crossing Over ◽  
Women's Liberation Movement ◽  
Shared Experiences ◽  
Liberation Movement ◽  
Suffrage Movement ◽  
Women’S Liberation ◽  
Women’S Suffrage

Chapter 6 considers work in the expressive orientation, which concerns the articulation and expression of identities. The dilemma is one of authenticity, and it turns on questions of provenance. When the identity is grounded in shared experiences, needs, and desires, the adherent may be well placed to help. When the experiences, needs, and desires are unshared, she is a less possible and less useful ally. Three approaches are distinguished: disjoint “validation,” in which the adherent attests, on the basis of her expertise, that the claimed identity is valid; conjoint “crossing-over” in which the adherent seeks to share the identity-forming experiences of the constituents; and “self-expression,” in which constituents seek to secure their identities alone. The supporting case study for this chapter contrasts the mobilization of male sympathizers in the Edwardian women’s suffrage movement with their demobilization in the Women’s Liberation Movement of the 1970s.

Evelyn and William De Morgan

2018 ◽  
Author(s):  
Lucy Ella Rose
Keyword(s):  
Gender Equality ◽  
Literary Work ◽  
Women's Liberation ◽  
Women's Suffrage ◽  
Suffrage Movement ◽  
Women’S Liberation ◽  
Creative Partnership ◽  
Women’S Suffrage

Chapter 2 focuses on Evelyn and William De Morgan. It explores the feminist dynamics of the couple’s conjugal creative partnership, their professional creative practices, and the ways in which they supported the women’s suffrage movement and women’s liberation more generally. Evelyn De Morgan signed women’s suffrage petitions, and William De Morgan wrote impassioned letters in support of women’s suffrage. Chapters 1 and 2 show how, for both Mary Watts and Evelyn De Morgan, professional creative practices and partnerships were liberatory strategies through which they achieved and promoted greater female emancipation and empowerment. The Wattses and the De Morgans had a shared agenda for greater gender equality and women’s liberation, which they advocated in their visual and literary work. They can thus be reclaimed as early feminists with coinciding socio-political and aesthetic aims.

Mary and George Watts

2018 ◽  
Author(s):  
Lucy Ella Rose
Keyword(s):  
Women's Liberation ◽  
Women's Suffrage ◽  
Suffrage Movement ◽  
Women’S Liberation ◽  
Women's Culture ◽  
Late Nineteenth ◽  
Creative Partnership ◽  
Women’S Suffrage

Chapters 1 and 2 explore the Wattses’ and the De Morgans’ progressive socio-political positions as suffragist artists who actively supported and promoted the women’s suffrage movement that gained momentum over the late nineteenth and early twentieth centuries. It shows how they achieved this through their anti-patriarchal conjugal creative partnerships; their professional creative practices; their involvement in suffrage societies and women’s culture; and their works privileging female struggle, power and freedom. Chapter 1 focuses on Mary and George Watts. It explores the feminist dynamics of the couple’s conjugal creative partnership, their professional creative practices, and the ways in which they supported the women’s suffrage movement and women’s liberation more generally. Most notably, Mary Watts convened suffrage meetings at the Wattses’ Surrey studio-home, while George Watts was close friends with – and his art was a source of inspiration for – early feminists.

‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre

2020 ◽  
Vol 14 (3) ◽  
pp. 321-330 ◽  
Author(s):  
Samantha Lampe
Keyword(s):  
Musical Theatre ◽  
Women's Liberation ◽  
Simone De Beauvoir ◽  
Female Representation ◽  
Public And Private ◽  
Women's Liberation Movement ◽  
Betty Friedan ◽  
Liberation Movement ◽  
Women’S Liberation ◽  
Female Image

As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.

scholarly journals 'Every generation has to make its own women's movement'

Soundings ◽  
2021 ◽  
Vol 77 (77) ◽  
pp. 37-54
Author(s):  
Sheila Rowbotham ◽  
Jo Littler
Keyword(s):  
Women's Movement ◽  
Women's Liberation ◽  
Women's Liberation Movement ◽  
Historical Scholarship ◽  
Liberation Movement ◽  
Women’S Liberation ◽  
Women’S Liberation Movement

In this interview Sheila Rowbotham talks to Jo Littler about her involvement in feminism and politics over several decades. This ranges across her role in the Women's Liberation Movement, left activism, historical scholarship, work with in the Greater London Council (GLC), involvement in the international homeworking movement and her secret life as a poet.

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