The Personal Is Archival

2021 ◽  
pp. 102-127
Author(s):  
Laura Stamm
Keyword(s):  
Body Politics ◽  
Aids Activism ◽  
Feminist Politics ◽  
Second Wave Feminism ◽  
Aids Crisis ◽  
Queer Archives ◽  
Lesbian Body ◽  
Second Wave

Chapter 4 investigates Barbara Hammer’s creation and use of queer archives to tell stories—via particular lesbians—of lesbian cultures past. The chapter’s turn to a lesbian filmmaker is an assertion that the preservationist impulse that accompanied much AIDS activism was genealogically connected to and politically aligned with feminist historiographical practice and body politics. The queer body politics of the AIDS crisis, politics rooted in the care of queer bodies, draws from the feminist politics and cinema originating in second-wave feminism. The chapter argues, then, that the lesbian body politics established in Hammer’s cinema, beginning in the 1970s, informed queer filmmakers’ activist approach to filmmaking during the AIDS crisis. Through readings of Maya Deren’s Sink (2011), Welcome to This House (2015), and Lover/Other (2006), this chapter argues that a distinctly lesbian-feminist aesthetic does not exist independently of a distinctly queer one.

Making Waves

2019 ◽  
Keyword(s):  
Critical Review ◽  
Women's Movement ◽  
Political History ◽  
Political Activism ◽  
The Political ◽  
Feminist Politics ◽  
Politics And Culture ◽  
Second Wave Feminism ◽  
The Relationship ◽  
Second Wave

French feminisms were central to the theory and culture of Second Wave feminism as an international movement, and 1975 was a key year for the women’s movement in France. Forty years on, this book offers a critical review of the political activism and the cultural creativity of that moment, from the perspective of both preceding and subsequent ‘waves’ of feminism. It explores the importance and the legacies of 1975, and their strengths and limitations as new questions and new conjunctures have come into play. Edited and written by an international collective of feminist scholars, the book represents both a critical re-evaluation of a vital moment in women’s cultural and political history - and a new analysis of the relationship between Second Wave agendas and contemporary feminist politics and culture.

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.

scholarly journals Hating men will free you? Valerie Solanas in Paris or the discursive politics of misandry

2021 ◽  
Vol 28 (3) ◽  
pp. 305-319
Author(s):  
Léa Védie
Keyword(s):  
Feminist Politics ◽  
Discursive Politics ◽  
Discursive Strategy ◽  
Feminist Movements ◽  
Second Wave

In the wake of contemporary controversies in France over feminist misandry, this article reflects on claimed hatred of men as a feminist discursive resource. I use the reception of Valerie Solanas’ SCUM Manifesto by some radical French feminists of the 1970s as a privileged case study, along with historian Colette Pipon’s study on misandry within French second-wave feminist movements and Judith Butler’s works on stigma reversal. I contend that in a seemingly paradoxical way, misandry is both an anti-feminist stigma and a feminist discursive strategy: the inhibiting effects of such injurious term on feminist politics – the aggressive, castrating and hateful feminist you should at all cost avoid to become – can be managed, if not neutralized, by means of feminist misandry. From that point, I argue that claimed hatred of men can open fruitful political venues in challenging the stifling effects of respectability politics.

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.

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