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Author(s):  
Simona Bertacco

In this article, Canada and Quebec are taken as case studies providing some interesting examples of inter-linguistic but intra-national translation, texts presenting features which can be addressed under the broad rubric of postcolonialism, especially as far as the power relations between the English and French languages in Canada are concerned. As a matter of fact, the socalled politics of translation appear only too clearly if we analyze the texts which are translated across the border between Canada and Quebec. Within this context, there has been a group of writers and scholars from both linguistic areas who have been willing to meet on a different ground – the ground of feminist writing and translation. Among the most important women in the group, Barbara Godard and Sherry Simon, as well as writers such as Nicole Brossard and Daphne Marlatt, deserve to be mentioned for the visibility their works have achieved in the past decades, and for the issues they raise.


Linguaculture ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 47-62
Author(s):  
Ștefana Iosif

Letty Cottin-Pogrebin’s autobiography, Deborah, Golda, and Me. Being Female and Jewish in America, immerses the reader into the intersectional world of feminist writing. Pogrebin allows for different genres to cohabitate and create a deeply personal account. At times almost journalistic, at others taking the guise of persuasive activist essays, the work itself mirrors in its shape the theme at its very center: the exploration of identity, done outside of prescribed lines, in the three-dimensionality conferred by multi-faceted sides of the self. As such, Pogrebin brings under one roof former opposites, allowing them to meld together: feminism and religious observance; the personal and the political; motherhood and fatherhood. Identity is not an either/or endeavor, and Pogrebin makes the case for embracing hyphenation and the liberating force of self-definition.


2021 ◽  
pp. 146470012199718
Author(s):  
Sam McBean

On 4 January 1971, Ti-Grace Atkinson delivered a talk entitled ‘Strategy and Tactics: A Presentation of Political Lesbianism’. The talk was later published in her collected essays, Amazon Odyssey. The essay contains thirty-five diagrams: ten ‘Strategy Charts’, three ‘Tactical Charts’ and twenty-two ‘Tactical-Strategy Charts’, which map a strategy of the ‘Oppressor’ (men) and the tactics that the ‘Oppressed’ (women) might develop to lead to a revolution – lesbians, significantly, are the ‘Buffer Zone’ between these two classes. In the only reference I have managed to find to these diagrams, they are referred to as ‘crazy’. This article re-visits these diagrams, exploring the role of the diagram in how Atkinson attempts to map patriarchal relations and also imagine a feminist revolution. Taking Atkinson’s diagrams as a starting point, the article then uses them to begin to narrate a genealogy of the diagram in feminist theory, exploring a diagrammatic imaginary that is an often-used but rarely discussed tactic in feminist writing. Finally, the article opens out to consider how this history of feminist diagrams might be a precursor to more contemporary feminist data visualisations.


2021 ◽  
Vol 33 (1) ◽  
pp. 50-74
Author(s):  
Benjamin Mangrum

Abstract Shirley Jackson’s essays in popular women’s magazines negotiate the gendered tensions and commercial contradictions of postwar print culture. This essay shows how the women in Jackson’s essays are figures of the fraught convergence of women’s public affiliation and the restrained politics of gender critique. These female figures are also representative of broader issues in US print culture after the Second World War. In particular, Jackson’s essays represent how a certain strain of feminist writing—sometimes known as “domestic humor”—was absorbed within the market forces of print capitalism. To explain this absorption, I draw on mid-century theories of market segmentation.


2021 ◽  
Vol 74 (4) ◽  
pp. 36-42
Author(s):  
Emma Wilson

Death in Venice turns fifty in 2021. The moment of the pandemic may be one reason to look back at this film about cholera in Italy. The release of the documentary The Most Beautiful Boy in the World (2021), about Bjorn Andrésen who starred as Tadzio, is another. But what is most enduring is Visconti’s engagement with the family, and above all with the mother. This calls for reflection in the present moment when maternal eroticism and its relation to maternal subjectivity are newly illuminated in feminist writing. Through extended analysis of Silvana Mangano’s presence in the film, her wardrobe, and her gestures, this article argues that Visconti opens a space for feelings of heartbreak, love for the mother, and grief at her desire. In its vision of madness in the family, beyond its images of cholera in Venice, this is a pandemic film unafraid to look into the vortex.


2020 ◽  
Vol 31 (1) ◽  
pp. 36-62
Author(s):  
Augustine H. Asaah

Arguably considered the prototype of African postcolonial feminist writing by reason of its poignant depiction of taboo subjects such as lesbianism, prostitution, drugs, and suicide, Ken Bugul’s The abandoned baobab has elicited sustained interest from the academy. This paper seeks to contribute to the debate by examining the strands of counter-discourse and postcolonial complicity within the context of the primacy ascribed to myths, the baobab, and the mother. It is driven by nativism and postcolonial theory. Far from constituting impregnable defense systems against hegemony, these primal forces prove to be limited in their protection of the protagonist. The paper concludes that even if the narrative foregrounds the mirage of hermetic identities and norms, it also defends Afrocentric development in the postcolony.


2020 ◽  
Vol 11 (2) ◽  
Author(s):  
Susan Naomi Nordstrom ◽  
Asia Amos ◽  
Keishana Barnes ◽  
Tharwa Bilbeisi ◽  
JoAnna Boudreaux ◽  
...  

This collaboratively written piece materializes the collective experiences of 14 students and an instructor in a graduate-level feminist research methods class in the United States. Instead of writing a traditional seminar paper, the class decided to continue our weekly discussions, during which we wrestled with both theory and practice, in text in a final paper. It just seemed like the best way to end our time together. In so doing, the she embodied collective furthers feminist writing practices that embrace uneasy collectives of varying viewpoints. This particular collective acknowledges our she, but recognizes, listens to, and celebrates all the powerful pronouns that create a collective. The collective offers a brief introduction and lengthy appendix to situate the piece. We do not adhere to a singular feminism in the piece. Consequently, our collective is a way of doing unity differently, of attending to and residing with the frictional thought within feminisms and finding that frictional thought as generative. We invite readers to join our collective, to think together across differences without reducing those differences to similarities.


2020 ◽  
Vol 3 (1) ◽  
pp. 129
Author(s):  
Mythri Jegathesan

This article is a meditation on how the body fights to write about experiences of gendered risk and discomfort in anthropology. It details the sensorium of trauma and risk in fieldwork and how writing is central to processing traumas and but also curating future methodological directions. Responding to the demands placed on knowledge production in the discipline, anthropologists are often trained to seal up and bury these kinds of vulnerable writings. However, feminist writing praxes of disobedience and survival encourage anthropologists to do fieldwork and write not to survive a "trial by fire" or preserve an anthropology tested and known but to treat the body and writing as mutual sites of re-visioning more ethical engagements in their fields of work.


2020 ◽  
pp. 152-165
Author(s):  
Raili Marling

Virginia Woolf’s texts pose a serious challenge to translators, not only because of the subtleties of her style but also because her political stances, most notably, on cosmopolitanism and feminism, continue to create friction in many receiving cultures. Previous scholarship has shown radical transformations of Woolf’s texts by androcentric translators. This chapter analyses the transfer(ability) of Woolf’s cosmopolitan feminism into the postsocialist Estonian culture and focuses on the example of the translation of A Room of One’s Own (1994/1997). This text was chosen because research from other Eastern European countries has shown that its translation can help open doors to other feminist texts. This analysis shows that the Estonian translation prioritises stylistic excellence over politics but not to an extent that would mute the feminist intentions of the text. The translation indeed can be seen as a means of smuggling in feminist ideas and inspiring feminist activism.


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