This article criticizes what I call "Raunchy" feminist art by employing discussions of pornography and objectification from Eaton and Nussbaum. Artists considered include Carolee Schneeman, Cindy Sherman, Lisa Yuskavage, and Jenny Saville. The article includes by citing examples of feminist art dealing with erotic material in a more productive manner: Eija-Liisa Ahtila, Kiki Smith, and Marlene Dumas.

bildwechsel is one of the most prolific and longstanding video collectives established in Europe within the framework of the women’s movement. Founded in 1979 by students of the Hamburg College of Fine Arts, in 1986 the group became an umbrella organization with activities and agents spread all over Europe and the world sharing a common infrastructure. The purpose of bildwechsel is to strengthen women’s presence in the audiovisual media and to advance feminist and queer art. The group has (...) been pursuing its mandate initially through local workshops and exhibitions, then through archival practices and programming activities promoted on the organization’s website. This article examines bildwechsel as an example of women’s ability to maintain a niche presence within the European and the world art scene since the late 1970s via grassroots globalized practices, from within a theoretical framework drawing on transnational feminism and new media theory. (shrink)

When The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory by Carol J. Adams was published more than twenty years ago, it caused a immediate stir among writers and thinkers, feminists and animal rights activists alike. Never before had the relationship between patriarchy and meat eating been drawn so clearly, the idea that there lies a strong connection between the consumption of women and animals so plainly asserted. But, as the 21 personal stories in this anthology show, the impact (...) of this provocative text on womens lives continues to this day, and it is as diverse as it is revelatory. One writer attempts to reconcile her feminist-vegan beliefs with her Muslim upbringing; a second makes the connection between animal abuse and her own self-destructive tendencies. A new mother discusses the sexual politics of breastfeeding, while another pens a letter to her young son about all she wishes for him in the future. Many others recall how the book inspired them to start careers in the music business, animal advocacy, and food. No matter whether they first read it in college or later in life, whether they are in their late teens or early forties, these writers all credit The Sexual Politics of Meat in some way with the awakening of their identities as feminists, activists, and women. Even if you havent read the original work, youre sure to be moved and inspired by these tales of growing up and, perhaps more important, waking up to the truths around us. (shrink)

If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that (...) the conditions suited to both history and the history of art may affect their creation but without specifying it ontologically. If, moreover, some women artists define their work as feminist, it is through an act that combines artistic and political transgression. The exhibition currently arranged by the Georges Pompidou Centre, elles@ beaubourg, provides new resources for these complex questions. (shrink)

The increasing availability of passively observed data has yielded a growing interest in “data fusion” methods, which involve merging data from observational and experimental sources to draw causal conclusions. Such methods often require a precarious tradeoff between the unknown bias in the observational dataset and the often-large variance in the experimental dataset. We propose an alternative approach, which avoids this tradeoff: rather than using observational data for inference, we use it to design a more efficient experiment. We consider the case (...) of a stratified experiment with a binary outcome and suppose pilot estimates for the stratum potential outcome variances can be obtained from the observational study. We extend existing results to generate confidence sets for these variances, while accounting for the possibility of unmeasured confounding. Then, we pose the experimental design problem as a regret minimization problem subject to the constraints imposed by our confidence sets. We show that this problem can be converted into a concave maximization and solved using conventional methods. Finally, we demonstrate the practical utility of our methods using data from the Women’s Health Initiative. (shrink)

Introduces seven women philosophers of art from long nineteenth-century Britain including Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee Traces a logical progression amongst these women's views as they grappled with art's relations to morality and religion Shows that these women were well-known in their time and played important roles in establishing British philosophy of art Expands the rediscovery of women philosophers to a neglected area, philosophy of art.

Toward the end of “Of the Standard of Taste,” Hume summarizes what it means to be “a true judge in the finer arts.” He says: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character.”1 Throughout the essay, he also claims that his position is commonsensical and naturalistic—that is, notwithstanding the diversity of opinion among critics, there is a “structure of the mind... naturally calculated to (...) give pleasure,”2 that the “general principles of taste are uniform in human nature,”3 that the foundation of good taste lies in “the common sentiments of human nature.”4 Hume is essentially right about.. (shrink)

The verb “to conjure” is a complex one, for it includes in its standard definition a great range of possible actions or operations, not all of them equivalent, or even compatible. In its most common usage, “to conjure” means to perform an act of magic or to invoke a supernatural force, by casting a spell, say, or performing a particular ritual or rite. But “to conjure” is also to influence, to beg, to command or constrain, to charm, to bewitch, to (...) move or convey, to imagine, to visualize, to call to mind, or to remember. —Rachael DeLue 2012, para 1.When we create with our Brown hands, feminine energy, and full spirits, we conjure. To exist, survive, and thrive in these bodies is a continuous act of conjuring. Our walks conjure. Our smiles conjure. Our tears conjure. Our laughs conjure. Our words conjure. Our artworks are conjurings. We, a Black/Filipina-American woman, a Dominican-American, and a Black-American woman, are guided by our solidarity with one another and all other Black and Brown female identifying persons whose raced and gendered subjectivities exist both inside and outside of colonization, white supremacy, and patriarchy. We bring to life our colored imaginations and curiosities, and share them with the world. We are united by our need for safety, autonomy as beings, dissolution of trauma, and desire to ask, “What would happen if I…?” Imaginative, curious Women of Color founded the underground railroad, guided captured Africans and Tainos to the mountains, ignited the Civil Rights Movement, organized laborers and immigrants, birthed the #BlackLivesMatter Movement, conceived the #MeToo Movement, and so much more. Like our kindred counterparts, we have an unrelenting urge to examine, question, wonder, desire, speak to, lead, be curious, and “conjure.” As practicing artists and art educators, our critical arts-based practices are grounded in intersectional feminisms like Womanism, Black Feminist Theory, and Chicana Feminist Theory, which allow us to do these very things. (shrink)

While presenting this manuscript to art practitioners and art theorists, we noticed that there is great discomfort confronting this topic. Some questions raised were why is such research conducted, what is it good for, and does it impose preconceptions on men and women. Since Bourdieu and Darbel,1 it is widely assumed that sociodemographic factors such as education or profession have an impact on art reception. However, questions of basal sociodemographic factors like sex and age and their influence on art (...) reception are seldom discussed. John Falk, a specialist on museum visitor studies, even states, “Quantitative measures such as demographics provide too little information about visitors in relation to museums to.. (shrink)

This paper explores transformations in the understanding of teaching authority and also considers an often neglected group of subjects who have exercised such in the period during and since the Second Vatican Council. In particular, it explores both topics vis-à-vis the role of women in the church, especially their contributions to the church’s exercise of magisterium. The article outlines the need to increase awareness, acknowledgment and appreciation of the contribution of women to the church’s teaching authority and, most (...) importantly of all, to increase further their participation in the same. First, the paper considers, the role played by the few women present in an active capacity at Vatican II. Through posing the rhetorical question, ‘what were they doing there?’, the author argues that these women were teaching with authority, i.e. exercising magisterium. Next, the paper explores some of the confusion and controversies surrounding the notion of what magisterium actually is and who should exercise it, before surveying some further brief examples of how women have exercised magisterium throughout the history of the church. The paper next considers how events in the church have developed from a stance of confrontation toward the more positive steps that have been taken in relation to the role of women in the church under Pope Francis. It concludes with reflections on the future and why attention to aggiornamento for magisterium is essential in order that the church becomes a body of greater and wider co-responsibility, including the indispensable collaboration of women practicing the art of magisterium. (shrink)

Feminism has been a major force in the reshaping of recent art. The women's movement has given new confidence to women who work in the visual arts; it has opened up new areas for art to deal with and challenged existing systems of values and imagery in the arts. In their comprehensive introduction, Rozsika Parker and Griselda Pollock provide a richly illustrated history of the British women's art movement, covering the major events and debates in feminist art (...) practice which have taken place over the last fifteen years. They also examine the trends, the conflicts and the new directions of the 1980s in which issues of race, as well as gender, have necessarily become prominent. Griselda Pollock goes on to explore the place of feminist art in the context of post-modern culture, arguing that feminism is one of the most important and radical interventions in both modernism and post-modernism. --back cover. (shrink)

Sustainability is the result of modern-day design philosophy as a result of major industrial developments and many conflicts and wars. This concept is what prompted this research to focus on the possibility of achieving the principles of sustainability practically - in field reality - through the use of artificial intelligence techniques to create contemporary designs derived from the Saudi Asiri heritage and employ them in printing sustainable clothing supplements. Heritage-inspired design has cultural meaning and importance, and its purpose is to (...) transmit our heritage to our emerging generations, and therefore it is considered a type of sustainable thought. The Asir region in the Kingdom of Saudi Arabia has a rich heritage that is greatly influenced by the charming nature of the place. The Asir region is distinguished by the art of the “Asiri Cat,” which consists of engravings, lines, and aesthetic formations engraved by women specialized in this field. They inherited this art from the women who preceded them. Asiri art is distinguished from other arts. The use of bright natural colors such as blue, green, orange, black and white, as the Asir region is considered one of the important heritage and tourist areas within the Kingdom of Saudi Arabia, has played a pivotal role in enriching the cultural and creative stock not only of the Saudi citizen, but also of the Arabian Gulf region. This is what prompted us in the current research to delve into the analysis of the creative and artistic aspects of Asiri art inscriptions and to benefit from the aesthetic values of Asiri art decorations in contemporary artistic designs that achieve sustainability for the purpose of exploiting them in the manufacture of plastic fittings for clothing supplements to serve small industries. Many diverse designs have been implemented using different printing techniques. From (direct drawing method - stencil printing - pictorial screen printing) the use of different types and colors to implement different products to produce clothing accessories that are closely related to the structure of form and content of Al-Qat Al-Asiri art, and depends on its aesthetic philosophy about the heritage and cultural references associated with the place and the artist’s own vision. To revive Saudi heritage. The research aims to take advantage of the geometric and floral decorative elements in Al-Qat Al-Asiri’s artistic engravings as a source for enriching and sustaining printed designs for women’s clothing supplements that are characterized by authenticity and contemporaryness, and preserving popular motifs by reformulating them. In keeping with the times, and preserving its most prominent features, in a way that enhances belonging and preserves the community’s heritage and values. From extinction, endless horizons of creativity and innovation have been achieved in the field of printing clothing supplements, and sustainable plastic repetition, which the designer or art practitioner resorts to in general, and the field of printing in particular, as a creative pluralistic plastic method.The research followed the descriptive and analytical approach in identifying the origins and characteristics of the Asir artistic inscriptions (the cat), analyzing their vocabulary, reformulating them, and drawing inspiration from them to enrich the printed designs of women’s clothing supplements, in addition to the experimental approach in the applied study through the use of different techniques and materials. The results of the study concluded that there are various aesthetic values in the Asiri cat engraving that can be used to create contemporary designs on clothing accessories using different printing techniques, in order to preserve the Asiri heritage in the southern region of the country. The study recommended the need to pay attention to studying heritage and the arts it contains because of its great importance, as it stimulates appreciation of traditional art and preserves it. (shrink)

One of my projects as a Research Fellow for The Institute for Theological Partnerships at the University of Winchester is the Feminist Theology and Art Forum. This project was born out of my Doctoral thesis which combines both art and feminist liberation theologies. Thus creating a methodology in which art as language gives voice to women’s experience within the theological world. The Forum so far has opened a window of opportunity for female artists and feminist theologians alike to exhibit (...) visual artwork that demonstrates their incarnational experience through the concept of Christ/a and Mary/miriam from a feminist theological perspective. There have been two exhibitions with a third exhibition this year which will have a feminist ecological/theological theme highlighting the important role that many women globally play in their own wellbeing and flourishing in connection with the Earth/gaia. This article moves briefly from personal experience, which is where all feminist theology begins, into the wider world of possibilities for women to use both art and feminist theology as a model for expressing another way of speaking their experience theologically, ecologically, socially and politically and in so doing create a space in which they too may flourish. (shrink)

In the Renaissance, educating for philosophy was integrated with educating for an active role in society, and both were conditioned by the prevailing educational theories based on humanist revisions of the trivium. I argue that women's education in the Renaissance remained tied to grammar while the education of men was directed toward action through eloquence. This is both a result of and a condition for the greater restriction on the social opportunities for women.

This study examined the relationship between the proportion of women serving on firms' boards of directors and the extent to which these same firms engaged in charitable giving activities. Using a sample of 185 Fortune 500 firms for the 1991-1994 time period, the results provide strong support for the notion that firms having a higher proportion of women serving on their boards do engage in charitable giving to a greater extent than firms having a lower proportion of (...) class='Hi'>women serving on their boards. Further, the results suggest a link between the percentage of women on boards and firm philanthropy in the areas of community service and the arts, but found no link between women boardmembers and firm giving to support education or public policy issues. The implications of the findings and some areas for future research are discussed. (shrink)

When Betty Friedan published The Feminine Mystique in 1963, the book exploded into women's consciousness. Before the decade was out, what had begun as a campaign for women's civil rights transformed into a diverse and revolutionary movement for freedom and social justice that challenged many aspects of everyday life long accepted as fixed: work, birth control and abortion, childcare and housework, gender, class, and race, art and literature, sexuality and identity, rape and domestic violence, sexual harassment, pornography, and (...) more. This was the women's liberation movement, and writing--powerful, personal, and prophetic--was its beating heart. Fifty years on, in the age of #MeToo and Black Lives Matter, this visionary and radical writing is as relevant and urgently needed as ever, ready to inspire a new generation of feminists. Activists and writers Alix Kates Shulman and Honor Moore have gathered an unprecedented collection of works--many long out-of-print and hard to find--that catalyzed and propelled the women's liberation movement. Ranging from Friedan's Feminine Mystique to Backlash, Susan Faludi's Reagan-era requiem, and framed by Shulman and Moore with an introduction and headnotes that provide historical and personal context, the anthology reveals the crucial role of Black feminists and other women of color in a decades long mass movement that not only brought about fundamental changes in American life--changes too often taken for granted today--but envisioned a thoroughgoing revolution in society and consciousness still to be achieved"--Back cover. (shrink)

Women, Art, and Power?seven landmark essays on women artists and women in art history?brings together the work of almost twenty years of scholarship and speculation.

Male provisioning ability may have evolved as a “good dad” indicator through sexual selection, whereas male creativity may have evolved partly as a “good genes” indicator. If so, women near peak fertility (midcycle) should prefer creativity over wealth, especially in short-term mating. Forty-one normally cycling women read vignettes describing creative but poor men vs. uncreative but rich men. Women’s estimated fertility predicted their short-term (but not long-term) preference for creativity over wealth, in both their desirability ratings of (...) individual men (r=.40, p<.01) and their forced-choice decisions between men (r=.46, p<.01). These preliminary results are consistent with the view that creativity evolved at least partly as a good genes indicator through mate choice. (shrink)

Gathering the contributions of eleven contemporary Italian women thinkers who share a philosophical practice, Contemporary Italian Women Philosophers embraces a general interrelationality, fluidity, and overlapping of concepts for a border-crossing that affects what it means to be subjects that are embodied and participants in the life of their communities, thereby shaping a sense of belonging. Common threads are revealed through the exploration of radically diverse themes (the body, subjectivity, power, freedom, equality, liberation, the emotions, symbolism and metaphors, maternity, (...) reproduction, responsibility, the political, the economic) and approaches (autobiographical styles, personal narratives, rootedness in the everyday, advancement of relationality, empathic responsibility, passions, and commitment to the flourishing of the polis). In their differences, these previously unpublished essays give the reader a glimpse of the fecund and articulated philosophical work of women in the Italian context-a context which has not been and still is not always benign toward women's distinctive originality and creativity. (shrink)

Catholicism is the most restrictive world religion in its position on assisted reproductive technologies. The opposition of the Church, combined with the widespread acceptability of ARTs in the United States, creates a profound moral dilemma for those who adhere to Church doctrine. Drawing on interviews from 33 Catholic women, this study shows that devout women have different understandings of these technologies than women from treatment-based studies. These differences are rooted in devout women’s position of navigating two (...) contradictory cultural schemas—“religious” and “secular”—regarding the meaning of reproductive technologies. Religious schemas provide devout women with different cultural resources that help them to avoid using ARTs while still reckoning with the ideal of biological parenthood. I show how devout women draw on religion to find value and meaning in their suffering, move beyond biological motherhood, and achieve a moral femininity. While religion increases the burden of reproduction for devout women, it also provides the cultural resources to resist the financial, emotional, and physical difficulties experienced by women who use ARTs. (shrink)

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

A perennial influence on the aesthetics of fashion, fostered by Plato and Aristotle, is challenged today by a prevalent social constructionism. The latter embraces an impracticable biodenial as well as an incoherent epistemic relativism, reminiscent of Greek Sophism, whereby truth-claims about good fashion may be both true and false either in the same culture at different times or at the same time in different cultures. But a normative aesthetics of Aristotle and Plato, that affirms an epistemic realism, roots women's (...) fashion in their psychobiological nature. The relation of this nature to their sex proceeds paripassu with an erogeneity proper to women's fashion. The case for this fashion as a mode of art that fulfills the complementary natures of men as well as women is not merely coherent. Beyond the coherence, the case is evidenced by the healthfulness of good art that ranges from its beneficial effects in architecture to medical findings on beautiful music such as Bach, Mozart, Celtic and Indian. (shrink)

This paper presents a literature review offering a thorough and critical systematization of articles investigating the influence of women directors on corporate social performance (CSP). We review the state-of-the-art literature in terms of its key assumptions, theories, and conceptualization of CSP. Our analysis shows a misfit between the theorization and operationalization of gender diversity, especially in quantitative empirical studies, which represent the majority of articles. In our overview of both conceptual and empirical studies, we identified three main theoretical dimensions, (...) which are contingent upon board-level and institution-level dimensions. Based on our proposed framework, we call for future researchers to focus on novel research questions and innovative research designs to investigate women’s contributions to CSP and challenge the theoretical assumptions about the role of women on boards. (shrink)

In recent years, Swedish women belonging to a post-migrant generation have made their voices against racism and social inequality prominent within public debate. Engaging in segregated and economically deprived suburbs, these women make use of art in order to counter stereotypical narratives of themselves and their communities. Based on interviews from two research projects, Accessing Utopia and Gendered Islamophobia in Sweden, this article aims to understand the complexities in using art to protest racist structures and stereotypes. In what (...) ways are the young women making room for their own creative expressions in Swedish society, while countering processes of othering? How does the work of representation affect them? What meaning do the women give to the platforms and networks they have been involved in? This article shows that the women’s early experiences of othering and meeting likeminded youths play a central role in order to either enter or create collective platforms where they can creatively engage in expressing their subjectivities and counter society’s controlling images. Projects and platforms such as Revolution Poetry and Swedish hijabis provided collective self-care through support and confidence building among youths from marginalized communities. These platforms can be seen as an artistic homeplace for the interlocutors. The article also shows that the work of representation is sometimes felt as limiting. The activism the women engage in is a deeply personal struggle for self-valuation and seeking ways to live a life on one’s own terms. (shrink)

aspirations, the rise of western monasticism was the most note worthy event of the early centuries. The importance of monasteries cannot be overstressed as sources of spirituality, learning and auto nomy in the intensely masculinized, militarized feudal period. Drawing their members from the highest levels of society, women's monasteries provided an outlet for the energy and ambition of strong-willed women, as well as positions of considerable authority. Even from periods relatively inhospitable to learning of all kinds, the memory (...) has been preserved of a good number of women of education. Their often considerable achievements and influence, however, generally lie outside even an expanded definition of philo sophy. Among the most notable foremothers of this early period were several whose efforts signal the possibility of later philosophical work. Radegund, in the sixth century, established one of the first Frankish convents, thereby laying the foundations for women's spiritual and intellectual development. From these beginnings, women's monasteries increased rapidly in both number and in fluence both on the continent and in Anglo-Saxon England. Hilda (d. 680) is well known as the powerful abbsess of the double monastery of Whitby. She was eager for knowledge, and five Eng lish bishops were educated under her tutelage. She is also accounted the patron of Caedmon, the first Anglo-Saxon poet of religious verse. The Anglo-Saxon nun Lioba was versed in the liberal arts as well as Scripture and canon law. (shrink)

This new book integrates material drawn from a variety of sources – feminist theory, cultural and literary analysis, sociology and art history – in an original discussion of women′s relationship to modern and post–modern culture. The essays in the book challenge the continuing separation of sociological from textual analysis in cultural (and feminist) theory and enquiry. They address critically the question of women′s writing, exploring the idea that women may begin to define their own lives and construct (...) their identities in a patriarchal culture through the very process of writing. They also present a cogent defence of a feminist cultural politics, including a politics of the body. (shrink)

If writing about women was once an innovation, it is now an imperative. Very rare only two short decades ago, feminist scholarship today pervades the disciplines of art, history, law, literature, and religion. This volume, as probably every reader will have observed, is another sign that feminist studies, if not the norm, are now so regular an exception to it that they have redefined the norm. This volume is a sign of something else, which is that feminism has made (...) a place for men. I was invited to participate because my recent work argues for theoretical self-examination and revision in the disciplines of medieval studies. A traditionalist eager to see tradition challenged and revitalized, I believe that scholarship ought to represent a joining of our public and private selves. This is a kind of self-awareness on which feminist scholars insist, but that view does not make me a feminist. When I chose the title for this essay, I did not know that I was to be the volume's only male contributor. As the token man, with no desire to speak for all men , I fear that I speak for them nevertheless. If women aren't enough, for this volume or for feminist criticism, one essay by one man isn't enough to explain why. (shrink)

Over the last few decades the arts and humanities have seen an increase in interest in questions surrounding gender. Not only did the 1960s, 1970s, and 1980s see the growth of feminism as an academic discipline as well as a political movement, but in recent years there has been a huge expansion of research into Gender Studies, Queer Theory, and LGBT Studies. In essence, these disciplines all offer a critique of the system known as patriarchy, in which the ‘rule of (...) the father’ legitimates the exercise of political power and social control by men. In turn, this critique raises questions about alternatives to the patriarchal system, and it is in this context that some theorists and historians have been interested in the system known as ‘matriarchy’. In so doing, they are linking back to the work undertaken by such late nineteenth-century thinkers as the American anthropologist Lewis H. Morgan and, in particular, the Swiss legal historian Johann Jakob Bachofen. From 1841 to 1845 Bachofen served as Professor for Roman Law at the University of Basel, and it is with the cultural and intellectual life of this city that his work is most often connected. Now Bachofen’s outlook is well summarized by the title of his 1861 work, Mother Right: An Investigation of the Religious and Juridical Character of Matriarchy in the Ancient World. In it Bachofen proposed that humankind had undergone four phases of cultural evolution, which he described as hetaerism; matriarchy; the Dionysian; and the Apollonian. The contrast between the Dionysian and the Apollonian exercised an influence on another thinker connected with Basel, the philosopher Friedrich Nietzsche ; and it was in the Nietzschean circles of the early twentieth century in German-speaking Europe that Bachofen’s work came to the fore. That this happened was due in no small measure to the figure who stands at the centre of Chiara Gianni Ardic’s new study, whose title translates into English as The Flight of the Gods: Myth, Matrarchy, and Fundamentalism in Ludwig Klages. For it was the circle around the charismatic thinker Ludwig Klages, arguably the most significant figure in a group of thinkers and writers known as the ‘Cosmic Circle’, that Bachofen’s ideas found a fruitful reception. The significance of Klages in the history of philosophy has frequently been overlooked, deliberately ignored, or even actively suppressed; so it is extremely welcome that Dr Ardic has undertaken to research so thoroughly the interest in matriarchy demonstrated by Klages and the members of the circle around him. (shrink)

This chapter explores the importance of writing by early nineteenth-century women for post-structuralist accounts of philosophy of art in German Idealism and Romanticism. Work by Romantic writers Karoline von Günderrode and Bettina Brentano-von Arnim is related to post-structuralist analyses of the sublime, the fragment, the work of art, and the artist/genius.

This essay meditates on the short film American Reflexxx and the violent laughter directed at a non-trans woman in public space when she was assumed to be trans. Drawing from work on the ideological and institutional dimensions of transphobia by Talia Bettcher and Viviane Namaste, alongside Sara Ahmed's writing on the cultural politics of disgust, I reverse engineer this specific instance of laughter into a meditation on the social meaning of transphobic laughter in public space. I then look at racialized (...) transphobic laughter directed against Tyra Hunter and Miriam Rivera to emphasize transmisogynist laughter as a denial of contact, intimacy, and care. Building on Kate Manne's work on misogyny, I conclude that a key aspect of transmisogyny is the use of transfeminine people as a source of dehumanized, disavowed, and disposable care and intimacy. Laughter and accompanying violence against trans women serves to reinforce this dynamic. (shrink)

Kristeva's Teresa My Love concerns the life and thought of a 16th century Spanish mystic, written in the form of a novel. Yet the theme of another kind of foreigner, equally exotic but this time threatening, pops up unexpectedly and disappears several times during the course of the novel. At the very beginning of the story, the 21st century narrator, psychoanalyst Sylvia Leclerque, encounters a young woman in a headscarf, whom Kristeva describes as an IT engineer, who speaks out, explaining (...) that "she and her God were one and that the veil was the immovable sign of this 'union,' which she wished to publicize in order to definitively 'fix it' in herself and in the eyes of others." In this paper I ask what difference Kristeva discerns between these two women, a distinction that apparently makes Teresa's immanence simultaneously a transcendence, but transforms a Muslim woman in a headscarf immediately into an imagined suicide bomber. Despite the problematic aspects of this comparison, we can learn something from them about Kristeva's ideas on mysticism and on art. Both mysticism and art are products of the death drive, but whereas the suicide bomber and the animal directly and purely pursue death Teresa and Adel remain on its outer edge and merely play with mortality. (shrink)

A two year artistic project "Cuerpos-Manos en la Vida Cotidiana" is documented in this catalogue of art and art theory in relation to the body and to daily life. A collective of 11 artists and art historians reflect on their contribution to the project, from the proposition, action, result and media. Many contributions deal with women, gender.

The choice to pursue fertility treatments is a complex one. In this paper I explore the issues of choice, agency, and gender as they relate to assisted reproductive technologies (ARTs). I argue that narrative approaches to bioethics such as those by Arthur Frank and Hilde Lindemann Nelson clarify judgments about autonomy and fertility medicine. More specifically, I propose two broad narrative categories that help capture the experience of encounters with fertility medicine: narratives of hope and narratives of resistance. This narrative (...) typology captures the inevitable conflict that women feel when they become subjects of fertility medicine. On the one hand, they must remain hopeful; on the other, they must not surrender themselves completely. Nelson's account of counterstories as narratives of resistance helps us see how women can reconcile the experience of a strong desire to have children with the desire to remain authentic and whole. (shrink)

What is right with this “comic” of Euripides's timeless and irreplaceable drama, The Trojan Women, is what was always right about a play that is relentlessly relevant. Carson's translation, spare and clear, distills the language of the original but keeps what is important, including some mouth-puckeringly wry lines. There is barbed wit and heartbreaking lullaby, sometimes coinciding on one page. Thus, the chorus comments, “Troy, you made a bad deal: / ten thousand men for a single coracle of cunt (...) appeal.” In the middle of the same page, the Greek herald Talthybius addresses Hector and Andromache's infant son Astyanax, whom he has come to carry off so that the baby can be thrown from the battlements: “Come along, little mushroom, / little rootlet, little sip, little milk fly, little asterisk, little welkin, / little silhouette, little sugar bubble—/ let go of your mother. / She's broken.” Then lower down on the same page: “It's time for your infinite leap / as decreed by the vote of men. / Take him. / The man to transact things like this / is one who doesn't know pity.”What is wrong with this new rendering is Bruno's awkward, amateurish drawings. Yes, the chorus are all animals, as are all the main characters except mad Cassandra (a partial exception might be made for Menelaus, who is some kind of machine); but Bruno is no Art Spiegelman, and this is no Maus. Spiegelman's cats, pigs, and mice make perfect sense and are elegantly and clearly depicted; they add resonance to the story without raising further questions. In this Trojan Women, it makes sense that Hecuba is an old bitch or Helen a svelte fox in high heels. Poseidon, a wave: okay. But Talthybius, a colossal raven? Athena, “a big pair of overalls, carrying an owl mask in one hand”? Andromache, “a poplar tree with trunk split and roots dragging out the back of the cart”? The infant Astyanax whom Andromache cradles in one Ent-like arm looks more like a cocoon or a hornet's nest or a hypertrophied oak gall than anything else. Menelaus, when he arrives, is “some sort of gear box, clutch or coupling mechanism, once sleek, not this year's model.” These surreal leaps might well work on the stage or screen, but the need to explain them in the text shows how uncomfortably they fit into the story. Carson's explanations, of course, constitute her only significant departures from Euripides.We do not need Bruno's drawings; Carson's pared-down text might work quite well on its own. But even grant the hypothetical that these drawings are an organic and crucial part of this version's vision, then the drawings should not need to be explained. Less would be more. What this version of the classic drama gains in succinctness it loses in tonal clarity—having said which, I would still like to try it out on my students, who might help me to change my mind. Does this retelling of the story remain heartrending and cruel, suffused with irony, sharpened by flashes of wit? Yes. Was it worth the experiment of turning the tragedy into a comic? Sure. Is this uneasy mix of verbal mastery and wobbly draftsmanship the ultimate version of The Trojan Women? Nope. (shrink)

In response to the rise of conservative women, the author engaged in a long and meaningful Socratic dialogue with two self-identified conservative women. The paper describes the conversation, then analyzes it according to various political trends, Jungian and other psychological theories, the author’s dialectical teaching methodology, the value of a traditional liberal arts education and the failure of the intellectual elite in the past 50 years to create and sustain meaningful friendships with fellow citizens from all social sectors (...) and educational levels. Athenian democracy also degenerated into authoritarianism because of the professional elite’s corruption and/or detachment. (shrink)

This article focuses on service provision for women who are involuntarily referred under the UK Mental Health Act (1983) into medium and high security care in England and Wales. We explore how physical and procedural security in such settings is prioritized over relational care (see also Fallon Report, Department of Health, 1999a and NHS Executive, 2000 – Tilt Report). We are not arguing against the importance of protecting the public from the acts of dangerous members of our society. However, (...) we are arguing that many of the women in our secure services are inappropriately placed and receive inappropriate forms of treatment and care. Rather than physical security, it is high relational care, which the women require. Further, we argue that current service provision often re-produces forms of violence and violation which have marked many of women's lives prior to their entry into the secure system. (shrink)

_Feminist Amnesia_ is an important challenge to contemporary academic feminism. Jean Curthoys argues that the intellectual decline of university arts education and the loss of a deep moral commitment in feminism are related phenomena. The contradiction set up by the radical ideas of the 1960s, and institutionalised life of many of its protagonists in the academy has produced a special kind of intellectual distortion. This book criticises current trends in feminist theory from the perspective of forgotten and allegedly outdated feminist (...) ideas. Jean Curthroys show that much contemporary feminist theory, like much of today's radical thought, is muddled. The 'forgotten' theory of Women's Liberation was, she argues, deeply oppositional and moral. The repression of this theory has led to distortions, most notabley in the preoccupation with binary oppositions. Jean Curthoys argues that where Women's Liberation was once radical, much of contemporary feminist thought hides behind obscurantism, and has become conservative and orthodox. These controversial ideas will be keenly debated by all those involved in womens's studies, feminist theory and moral philosophy. (shrink)

Theorizing Black Feminisms outlines some of the crucial debates going on among Black feminists today. In doing so it brings together a collection of some of the most exciting work by Black women scholars. The book encompasses a wide range of diverse subjects and refuses to be limited by notions of disciplinary boundaries or divisions between theory and practice. Theorizing Black Feminisms combines essays on literature, sociology, history, political science, anthropology, and art. As such it will be vital reading (...) for anyone--activist, student, artist or scholar--interested in exploring the multidisciplinary possibilities for Black feminism. Most importantly, each essay in the volume begins with the assumption that Black women are not simply victims of various oppressions. Rather, they are visionary and pragmatic agents of change. Contributors: Evelyn Barbee, University of Wisconsin; Rose Brewer, University of Minnesota; Cheryl Clarke, Rutgers University; Johnnetta Cole, Spelman College; Cindy Courville, Occidental College; Beverly Guy-Sheftall, Spelman College; Marilyn Little, University of Wisconsin; Nellie McKay, University of Wisconsin; O'molara Ogundipe, Rutgers University; Christine Obbo, Wayne State University; Loretta Ross, Center for Democratic Renewal, Atlanta. (shrink)

The female body whether it be child or woman has in the past and in the present struggled for human equality on multiple levels. There have of course been changes but the socio-political boundaries still shift this way and that under the weight of unequal power relations between genders within the ever unfolding fields of patriarchy. Sometimes it seems there are moments of clarity of achieved equality but more often than not the reality is hidden under a pseudo agenda of (...) token offerings. This is a battle that continues within the fields of economics, politics and the language that defines the status quo of the feminine. Feminist liberation theologies as we know begin with the experience of women and as women expand their experience and education through the worlds of politics, economics in academia, the church and other institutions so does the awareness of their subjugation to heteronormative values both past and present. Art has a way of expressing something that the word cannot, this is the language of feeling and emotion. Emotions and feelings have been historically allocated materially to women as a chaotic assemblage that does not fit into the rational world of men. I argue that feminist art describes powerfully the effect patriarchal power has had over female bodies through both personal and collective experiences and that is without doubt a political matter. (shrink)

Museums influence society’s ideas about canons in relation to art and the aesthetic. Such canons, as represented in museum exhibitions and collections, have sometimes been criticized for exclusion of artists from some groups. These artists include members of racial minorities, women, and others. It may be objected that there is a danger in some such criticism. Group membership might, it may be said, come to matter too much in choices by museums, rather than what should matter, producing and appreciating (...) work of the highest artistic or aesthetic value. (shrink)