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This book analyses how three artists - Adrian Piper, Nancy Spero and Mary Kelly - worked with the visual dimensions of language in the 1960s and 1970s. These artists used text and images of writing to challenge female stereotypes, addressing viewers and asking them to participate in the project of imagining women beyond familiar words and images of subordination. The book explores this dimension of their work through the concept of 'the other woman', a utopian wish to reach women and correspond with them across similarities and differences. To make the artwork's aspirations more concrete, it places the artists in correspondence with three writers - Angela Davis, Valerie Solanas, and Laura Mulvey - who also addressed the limited range of images through which women are allowed to become visible.
Lust, a mortal sin? These times are over. In today's public perception, it is more likely for a boring sex life to be categorised as that. In statistical terms, people have never had as little sex with each other as they do today. And yet tips for a good sex life are to be found on every (digital) corner. Sex has mutated into a lifestyle product, and terms like 'fuckability' and 'MILF' trip lightly off our tongues. Henriette Hell takes a closer look at the thing about sex. She traces the history and genesis of 'sexual liberation', and sheds light on the 'cheating gene' and the #metoo debate. The author asks (and answers) the question of whether sex is becoming more and more antisocial and what actually still turns us on today. In doing so, she focuses on the former mortal sin of lust, which is inseparably linked to the systematic suppression of female lust (and its liberation).
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This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. It establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmmakers. Focusing on aesthetic, theoretical and socio-historical analyses, it questions the manifest or latent gender and sexual politics that inform and structure the emerging cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US. With a combination of scholars from the UK, the US, Spain and Latin America, the volume documents and interprets a fascinating corpus of films made by Hispanic and Lusophone women and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. An essential resource to rethink notions of gender identity and subjectivity, it is a unique contribution to Spanish and Latin American Film Studies and Film Studies.
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This innovative study of vision, gender and poetry traces Milton's mark on Shelley, Tennyson, Browning and Swinburne to show how the lyric male poet achieves vision at the cost of symbolic blindness and feminisation. Drawing together a wide range of concerns including the use of myth, the gender of the sublime, the lyric fragment, and the relation of pain to creativity, this book is a major re-evaluation of the male poet and the making of the English poetic tradition. The female sublime from Milton to Swinburne examines the feminisation of the post-Miltonic male poet, not through cultural history, but through a series of mythic or classical figures which include Philomela, Orpheus and Sappho. It recovers a disfiguring sublime imagined as an aggressive female force which feminises the male poet in an act that simultaneously deprives and energises him. This book will be required reading for anyone with a serious interest in the English poetic tradition and Victorian poetry. ;
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This book marks an important new intervention into a vibrant area of scholarship, creating a dialogue between the histories of imperialism and of women and gender. By engaging critically with both traditional British imperial history and colonial discourse analysis, the essays demonstrate how feminist historians can play a central role in creating new histories of British imperialism. Chronologically, the focus is on the late eighteenth to early twentieth centuries, while geographically the essays range from the Caribbean to Australia and span India, Africa, Ireland and Britain itself. Topics explored include the question of female agency in imperial contexts, the relationships between feminism and nationalism, and questions of sexuality, masculinity and imperial power.
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Herminie and Fanny Pereire were sisters-in-law, married to the eminent Jewish bankers and Saint-Simonian socialists Emile and Isaac. They were also mother and daughter. This book, a companion to the author's acclaimed Emile and Isaac Pereire (2015), sheds new light on elite Jewish families in nineteenth-century France. Drawing on the family archives, it traces the Pereires across a century of major social and political change, from the Napoleonic period to the cusp of the First World War, revealing the active role they played as bourgeois women both within and outside the family. It offers insights into Jewish assimilation, embourgeoisement and gender relations, through the lens of one of the most fascinating families of the century.
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Popular culture is invariably a vehicle for the dominant ideas of its age. Never was this truer than in the late-nineteenth and early twentieth centuries, when it reflected the nationalist and imperialist ideologies current throughout Europe. It both reflects popular attitudes, ideas and preconceptions and it generates support for selected views and opinions. This book examines the various media through which nationalist ideas were conveyed in late-Victorian and Edwardian times: in the theatre, "ethnic" shows, juvenile literature, education and the iconography of popular art. It seeks to examine in detail the articulation and diffusion of imperialism in the field of juvenile literature by stressing its pervasiveness across boundaries of class, nation and gender. It analyses the production, distribution and marketing of imperially-charged juvenile fiction, stressing the significance of the Victorians' discovery of adolescence, technological advance and educational reforms as the context of the great expansion of such literature. An overview of the phenomenon of Robinson Crusoe follows, tracing the process of its transformation into a classic text of imperialism and imperial masculinity for boys. The imperial commitment took to the air in the form of the heroic airmen of inter-war fiction. The book highlights that athleticism, imperialism and militarism become enmeshed at the public schools. It also explores the promotion of imperialism and imperialist role models in fiction for girls, particularly Girl Guide stories.
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The book portrays men between the ages of 23 and 65, who work in caring professions in different areas, such as nursing homes, acute care clinics, home care, outpatient care and psychiatry, providing readers with an insight into their biographies. The protagonists recount in a candid way what motivated their career choice. Did they become aware of it through their environment or through personal experience? Which barriers did they have to overcome in the process of choosing a career? What do they think of their role as an exotic species in female-dominated teams? At which point did they begin to question the prevailing norms of gender identities?And what did that do for their own idea of masculinity? These portraits are enriched by five personal essays written by representatives from the Swiss healthcare sector who have been in the caring profession for a long time.
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Over fifty years after Jamaican and Trinidadian independence, Imagining Caribbean womanhood examines the links between beauty and politics in the Anglophone Caribbean, providing a first cultural history of Caribbean beauty competitions, spanning from Kingston to London. It traces the origins and transformation of female beauty contests in the British Caribbean from 1929 to 1970, through the development of cultural nationalism, race-conscious politics and decolonisation. The beauty contest, a seemingly marginal phenomenon, is used to illuminate the persistence of racial supremacy, the advance of consumer culture and the negotiation of race and nation through the idealised performance of cultured, modern beauty. Modern Caribbean femininity was intended to be politically functional but also commercially viable and subtly eroticised.
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Catherine Deneuve is indisputably one of the world's most celebrated actresses, both in her native France and throughout the world. Her career has spanned five decades during which she has worked with the most significant of French auteurs, as well as forging partnerships with international directors such as Bunuel and Polanski. The Deneuve star persona has attained such iconic status that it can now symbolise the very essence of French womanhood and civic identity. In this wide-ranging and authoritative collection of essays by a selection of international film academics and writers, the Deneuve persona is scrutinised and illuminated. Beyond the glamorous iconographic status of Yves Saint Laurent's muse, and the epitome of sexual inviolability, Deneuve's status as actress is foregrounded. The book will be essential reading for students and lecturers in star studies.
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Coline Serreau became famous in 1985 when her third film, Trois hommes et un couffin (Three Men and a Baby), the most successful French film of the 1980s. She was already known in France for her major contribution to feminist documentaries with the acclaimed Mais qu'est-ce qu'elles veulent?, a series of interviews with French women made between 1975 and 1977. She is now a key figure in French cinema and drama, with international hits including Romuald et Juliette (1989) and La Crise (1992). This appraisal of her work situates her films within the social, cultural and political context of France since May 1968, and assesses th emajor impact of the women's movement on French society and culture. Politics and sexual politics, two key aspects of Serreau's films and plays, are thoroughly examined. This book also considers the cultural influences of her work, and provides an overview of her films and filmic skills. Special attention is given to comedy, the cinematographic genre favoured by Serreau and the French audience, which is apprehended from a historical and gendered perspective. The clarity of the style and the wide-ranging analysis of Serreau's films and filming techniques make this book relevant both to students of film and film enthusiasts.
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Epicene is now one of the most widely-studied of Johnson's plays. Brilliantly exploiting the Jacobean convention whereby boys played female roles, it satirises the newly fashionable and sexually ambiguous world of the West End of London, where courtly wit rubs shoulders with commercial values. This authoritative new edition, now in paperback, is based on a thorough re-examination of the earliest texts. The introduction analyses the play as originally written for the newly formed Children of the Queen's Revels, and performed at the little-known Whitefriars Theatre. Dutton discusses the composition of the play, which took place during a critical period in Jonson's life and career, when he was established as the principal writer of entertainments at the court. His relationships at this time, with ambitious wits such as John Donne, Sir Edward Herbert and the actor Nathan Field, are examined as models for the principal characters. This challengingly historicised text of Epicene will be essential reading for all serious students of early modern drama. ;
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This groundbreaking book shows how female performers - one of the first groups of professional women - used and still use autobiography and performance as both a means of expression and control of their private and public selves, the 'face and the mask'. It looks at how a range of women in the theatre - actors, managers, writers and live artists - have done this on the page and on the stage from the late eighteenth-century to the present day, testing the boundaries between gender, theatre and autobiographical form. This paperback edition facilitates connections - between texts and performances, past and present practitioners, professional and private selves, individuals and communities, all of which have in some way renegotiated identity through autobiography and the creative act. 'Auto/biography and identity' is a landmark in theatre history and performance analysis, in gender and cultural theory, and autobiographical studies. ;
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1922: Hulda Gold is a midwife and she is smart, fearless and extremely popular in the neighbourhood since the fate of her female patients is extremely close to her heart. Especially as she encounters not only new life, but also death. In the notorious Bülowbogen, one of the city's many slums, Hulda looks after a pregnant woman. The young woman is devastated because her neighbour was found dead in the Landwehrkanal; allegedly a tragic accident. But why is the opaque detective commissioner Karl North so interested in the case? And why is Hulda so attracted to him? She investigates and gets deeper and deeper into the abysses of a city where shadow and light are so close together.
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Gothic television is the first full length study of the Gothic released on British and US television. An historical account, the book combines detailed archival research with analyses of key programmes, from Mystery and Imagination and Dark Shadows, to The Woman in White and Twin Peaks, and uncovers an aspect of television drama history which has, until now, remained critically unexplored. While some have seen television as too literal or homely a medium to successfully present Gothic fictions, Gothic television argues that the genre, in its many guises, is, and has always been, well-suited to television as a domestic medium, given the genre's obsessions with haunted houses and troubled families. This book will be of interest to lecturers and students across a number of disciplines including television studies, Gothic studies, and adaptation studies, as well as to the general reader with an interest in the Gothic, and in the history of television drama.
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Kein anderer Schriftsteller war sich der Bedeutung von Bildern für ein Leben so bewusst wie Arno Schmidt: »Mein Leben?!: ein Tablett voll glitzernder snapshots«, schrieb er in seinem Roman »Aus dem Leben eines Fauns«. Was also wäre adäquater, als Arno Schmidts Leben mit einer Bildbiographie nachzuzeichnen, die mosaikartig das Panorama einer eigenwilligen Schriftstellerexistenz zusammensetzt. Einführende Texte von Bernd Rauschenbach geben einen Überblick über die Stationen von Schmidts Leben – die Kindheit in Hamburg, die Jugend in Schlesien, Kriegszeit und Nachkriegselend, die wiederholten Wohnortwechsel, bis Arno Schmidt in Bargfeld in der Lüneburger Heide die »ihm gemäße Landschaft« findet. Für diese erste umfangreiche Bildbiographie über Arno Schmidt hat die Herausgeberin Fanny Esterházy in Archiven nachgeforscht und Unbekanntes und Verblüffendes zutage gefördert: Fotos, Zeichnungen, Dokumente aller Art, Bücher und Manuskripte, Notizen und Briefe, Zeitungsartikel, Alltägliches und Kurioses. Ergänzt und erläutert wird das vielfältige Material durch Textpassagen aus Arno Schmidts Werk, Auszüge aus den Tagebüchern von Arno und Alice Schmidt sowie Kommentare von Kollegen und Freunden.
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Engendering whiteness represents a comparative analysis of the complex interweaving of race, gender, social class and sexuality in defining the contours of white women's lives in Barbados and North Carolina during the era of slavery. Despite their gendered subordination, their social location within the dominant white group afforded all white women a range of privileges. Hence, their whiteness, as much as their gender, shaped these women's social identities and material realities. Crucially, as the biological reproducers of whiteness, and hence the symbolic and literal embodiment and bearers of the state of freedom, they were critical to the maintenance and reproduction of the cultural boundaries of 'whiteness', and consequently the subjects of patriarchal measures to limit and control their social and sexual freedoms. Engendering whiteness draws on a wide variety of sources including property deeds, wills, court transcripts, and interrogates the ways in which white women could be simultaneously socially positioned within plantation societies as both agents and as victims. It also reveals the strategies deployed by elite and poor white women in these societies to resist their gendered subordination, to challenge the ideological and social constraints that sought to restrict their lives to the private domestic sphere, to protect the limited rights afforded to them, to secure independent livelihoods, and to create meaningful existences. A fascinating study that with be welcomed by historians of imperialism as well as scholars of gender history and women's studies.
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A city burns, and a queen burns for love: Dido, Queen of Carthage re-imagines one of the great legendary stories. The encounter between a wandering hero and an African queen engenders love and loss, eroticism and absurdity, childish simplicity and compelling eloquence. Written for children to perform in the 1580s, Dido is nonetheless a remarkable play, revolutionary in its approach to character, blank verse, and audiences. This volume is the first single-text scholarly edition in English. It is an indispensable resource for scholars, students, and theatre practitioners. The edition features an accessible text, lightly punctuated for ease of reading and speaking. It incorporates new research into authorship (which indicates that Marlowe wrote the play), a detailed analysis of Dido's sources, and a survey of criticism; it assesses the evidence for early performances and provides extensive information about modern productions.
