Performance as Feminist Historiography

2021 ◽  
Vol 17 (2) ◽  
pp. 277-286
Author(s):  
Nazli Akhtari
Author(s):  
Laura Salah Nasrallah

Through case studies of archaeological materials from local contexts, Archaeology and the Letters of Paul illuminates the social, political, economic, and religious lives of those whom the apostle Paul addressed. Roman Ephesos, a likely setting for the household of Philemon, provides evidence of the slave trade. An inscription from Galatia seeks to restrain traveling Roman officials, illuminating how the travels of Paul, Cephas, and others may have disrupted communities. At Philippi, a donation list from a Silvanus cult provides evidence of abundant giving amid economic limitations, paralleling practices of local Christ followers. In Corinth, a landscape of grief includes monuments and bones, a context that illumines Corinthian practices of baptism on behalf of the dead and the provocative idea that one could live “as if not” mourning. Rome and the Letter to the Romans are the grounds to investigate ideas of time and race not only in the first century, when we find an Egyptian obelisk inserted as a timepiece into Augustus’s mausoleum complex, but also of Mussolini’s new Rome. Thessalonikē demonstrates how letters, legend, and cult are invented out of a love for Paul, after his death. The book articulates a method for bringing together biblical texts with archaeological remains in order to reconstruct the lives of the many adelphoi—brothers and sisters—whom Paul and his co-writers address. It is informed by feminist historiography and gains inspiration from thinkers like Claudia Rankine, Judith Butler, Giorgio Agamben, Wendy Brown, and Katie Lofton.


2020 ◽  
Vol 6 (2) ◽  
pp. 87-114
Author(s):  
Rachel Pierce

Abstract Feminist historiography is rife with debates about the nature and boundaries of women’s movements. Arguments over who to call an activist or a feminist sit at the heart of these definitional debates, which provide the groundwork for how scholars understand contemporary feminisms. Given the heated nature of ongoing disputes over the complicated identity politics of feminism and its archives, it is surprising that scholars have afforded so little attention to the technical infrastructure that defines and provides access to digitized primary source material, which is increasingly the foundation for contemporary historical research. Metadata plays an outsized role in these definitions, especially for photographic material that cannot be made word-searchable but is favored by digitizers because of its popularity. This article uses qualitative content analysis to examine how two digital archives define the Swedish suffrage movement - a historically contested concept, here understood through the theory of Susan Leigh Star as a “boundary object” subject to “interpretive flexibility”. The study uses keywords attached to photographic material from the the National Resource Library for Gender Studies (KvinnSam) and metadata within the related Swedish Women’s Biographical Lexicon platform for women’s biographies. The findings indicate that the hierarchies of archival organization do not disappear with individual document digitization and description. Instead, the silences built into physical archives are redefined in digital collections, obscuring the tensions between individual and movement feminisms, as well as the contested nature of movement boundaries.


Author(s):  
Swati Rajan

En el Maharashtra colonial, las mujeres intentaron conversar con ellas mismas y con la sociedad a través de biografías, autobiografías, artículos en periódicos, revistas e incluso escribieron libros, tratando de discutir los problemas de las mujeres que surgieron del sistema patriarcal de la sociedad en ese momento. Criticaron muy intensamente las costumbres sociales y la fe ciega en la religión de las mujeres. Sus escritos fueron teóricos y visionarios, y se destacaron creando una línea de base para la historiografía feminista; Aquí mis esfuerzos son para interpretar sus escritos desde ese punto de vista. La primera parte de este documento discute los esfuerzos de la historiografía feminista en su conjunto y la segunda parte se basa en el libro "La mujer hindú de la casta alta" y "Stri-Purush Tulana" de Pandita Ramabai y Tarabai Shinde, respectivamente.


2020 ◽  
Vol 4 (3) ◽  
pp. 260-283
Author(s):  
Blossom Stefaniw

Two recently-published works involved in the representation of women in the Christian past show two contemporary but divergent historiographic modes. The following essay examines each study within a larger frame of inquiry as to how patriarchy continues to shape both the institutional and embodied orders within which feminist historiography of early Christianity and Late Antiquity takes place. Using Critical Race Theory as the best available perspective from which to engage with systems of oppression, I articulate certain revisions which should be made to current efforts towards equality and consider what it would mean to write feminist historiography as counter-narrative or counter-storytelling without that becoming a decorative or extra-curricular practice in the academy. When feminist historiography is treated simultaneously in institutional, embodied, and epistemic terms it becomes evident that the way we think about women is part of a high-stakes conflict around the use of the past.


2019 ◽  
Vol 7 (4) ◽  
pp. 245-262
Author(s):  
Karl Shuve

Saba Mahmood begins Politics of Piety with a question: ‘[H]ow should issues of historical and cultural specificity inform both the analytics and the politics of any feminist project?’ She notes that while many forms of ‘difference’ have been integrated within feminist theory, ‘religious difference’ has received comparatively little emphasis. She attributes this to the ‘vexing relationship between feminism and religion,’ arising from feminism’s firm situation within ‘secular-liberal politics.’ In this essay, I explore how Mahmood’s insights might enrich the study of premodern Christianity. My particular focus will be a central, yet highly contested, aspect of medieval women’s piety: the practice of nuns taking the veil during consecration, marking them as ‘brides of Christ’. I hope, with Mahmood, to consider how an analysis of ‘the particular form that the body takes might transform our conceptual understanding of the act itself’, offering new possibilities for the practice of feminist historiography.


2019 ◽  
Vol 32 (1) ◽  
pp. 190-200
Author(s):  
Lisa Mendelman

Abstract Feminism exists in a perpetual identity crisis—with a vexed past, an unstable present, and an uncertain future. A scholar interested in this charged identity must manage such existential conditions in order to enable their transformative ambitions. Historicizing Post-Discourses (2017), Bodies of Information (2019), and Selling Women’s History (2017) take up this cognitive and corporeal challenge and largely meet it. In these three books, feminism’s endemic ambivalence becomes a resource for literary and cultural criticism. Focused on popular, digital, and material cultures in the twentieth- and twenty-first-century US, these volumes dramatize the merits and drawbacks of irresolution and resist a definitive conclusion about what feminism, both past and present, necessarily means for contemporary scholarship. Instead, we get alternative archives and, hopefully, better practices. Analyzing mass media, data visualizations, and consumer products, these studies engage new materials to flesh out the gendered, racialized human body at their common center. They rethink feminist historiography and demonstrate the myriad ways in which the sense of an ending continually renews and unsettles feminism’s search for a useable past. These works aim to create strategic alliances: they drive at embodied, material concerns, foreground questions of pedagogy and other modes of public interchange, and embrace a style of advocacy that rejects such extreme position-taking and instead embraces ambivalence.


2004 ◽  
Vol 45 (2) ◽  
pp. 227-233 ◽  
Author(s):  
Charlotte Canning

Given performance history's disciplinary complexity, not to mention the complications of a “we” comprised by so many different scholars, Theatre Survey's question is, in one sense, unanswerable. In another sense, if I translate the question to what I can do (staying fully aware that others will propose answers different from mine), however, I can offer an answer from my position as a feminist performance historian and historiographer. My response to it is twofold. The argument I make here is for performance that foregrounds historiographical operations, making physical, gestural, emotional, and agonistic the processes that construct history out of the past. Concomitantly, I am arguing for history that overtly acknowledges the ways in which it is a performance of the past, but not the past itself. This dual approach is especially important in feminist accounts of the past because performance has historically been a crucial constituent of feminist theories and practices.


2020 ◽  
Vol 35 (3) ◽  
pp. iv-29
Author(s):  
Lakshmi Padmanabhan

What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.


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