This a collection of essays about women, by women, which examine the production of femininity within a patriarchal society. The essays show that characteristics generally considered to be ‘feminine’ are in fact cultural constructions within a patriarchal order. The patriarchal culture is taken by us to be a system of meanings, as well as power relations, which pervades our view of women at both a conscious and an unconscious level. The symbolism of the rituals, myths, art works and polemics examined in the essays is related to the ways women are psychically constructed and constrained by the dominant heterosexual order. The Mother, the Witch, the Whore, the Pure Woman, the Amazon and the Free Woman are considered and the contributors make extensive use of original source material to give force to the argument that the stereotypic view of a feminine woman as naturally and inevitably weak, passive and powerless is one that can be seriously challenged.
This a collection of essays about women, by women, which examine the production of femininity within a patriarchal society. The essays show that characteristics generally considered to be ‘feminine’ are in fact cultural constructions within a patriarchal order. The patriarchal culture is taken by us to be a system of meanings, as well as power relations, which pervades our view of women at both a conscious and an unconscious level. The symbolism of the rituals, myths, art works and polemics examined in the essays is related to the ways women are psychically constructed and constrained by the dominant heterosexual order. The Mother, the Witch, the Whore, the Pure Woman, the Amazon and the Free Woman are considered and the contributors make extensive use of original source material to give force to the argument that the stereotypic view of a feminine woman as naturally and inevitably weak, passive and powerless is one that can be seriously challenged.
Routledge Library Editions: Feminist Theory brings together as one set, or individual volumes, a series of previously out-of-print classics from a variety of academic imprints. With titles ranging from The Liberation of Women to Feminists and State Welfare, from Married to the Job to Julia Kristeva, this set provides in one place a wealth of important reference sources from the diverse field of gender studies.
This is one of a series of bibliographical guides designed to meet the needs of undergraduates, postgraduates and their teachers in universities and colleges of further education. All volumes in the series share a number of common characteristics. They are selective, manageable in size, and include those books and articles which are considered most important and useful. All are editied by practising teachers of the subject in question and are based on their experience of the needs of students. The arrangement combines chronological with thematic divisions. Most of the items listed receive some descriptive comment.
In an age when "we are all multiculturalists now," as Nathan Glazer has said, the politics of identity has come to pose new challenges to our liberal polity and the presuppositions on which it is founded. Just what identity means, and what its role in the public sphere is, are questions that are being hotly debated. In this book Susan Hekman aims to bring greater theoretical clarity to the debate by exposing some basic misconceptions--about the constitution of the self that defines personal identity, about the way liberalism conceals the importance of identity under the veil of the "abstract citizen," and about the difference and interrelationship between personal and public identity. Hekman's use of object relations theory allows her to argue, against the postmodernist resort to a "fictive" subject, for a core self that is socially constructed in the early years of childhood but nevertheless provides a secure base for the adult subject. Such a self is social, particular, embedded, and connected--a stark contrast to the neutral and disembodied subject posited in liberal theory. This way of construing the self also opens up the possibility for distinguishing how personal identity functions in relation to public identity. Against those advocates of identity politics who seek reform through the institutionalization of group participation, Hekman espouses a vision of the politics of difference that eschews assigning individuals to fixed groups and emphasizes instead the fluidity of choice arising from the complex interaction between the individual's private identity and the multiple opportunities for associating with different groups and the public identities they define. Inspired by Foucault's argument that "power is everywhere," Hekman maps out a dual strategy of both political and social/cultural resistance for this new politics of identity, which recognizes that with significant advances already won in the political/legal arena, attitudinal change in civil society presents the greatest challenge for achieving more progress today in the struggle against racism, sexism, and other forms of oppression.
In Without a Tear Mark H. Bernstein begins with one of our most common and cherished moral beliefs: that it is wrong to intentionally and gratuitously inflict harm on the innocent. Over the course of the book, he shows how this apparently innocuous commitment requires that we drastically revise many of our most common practices involving nonhuman animals. Most people who write about our ethical obligations concerning animals base their arguments on emotional appeals or contentious philosophical assumptions; Bernstein, however, argues from reasons but carries little theoretical baggage. He considers the issues in a religious context, where he finds that Judaism in particular has the resources to ground moral obligations to animals. Without a Tear also makes novel use of feminist ethics to add to the case for drawing animals more closely into our ethical world. Bernstein details the realities of factory farms, animal-based research, and hunting fields, and contrasting these chilling facts with our moral imperatives clearly shows the need for fundamental changes to some of our most basic animal institutions. The tightly argued, provocative claims in Without a Tear will be an eye-opening experience for animal lovers, scholars, and people of good faith everywhere.
The notion of a person--or even an object--having a "double" has been explored in the visual arts for ages, and in myriad ways: portraying the body and its soul, a woman gazing at her reflection in a pool, or a man overwhelmed by his own shadow. In this edited collection focusing on nineteenth- and twentieth-century western art, scholars analyze doppelgangers, alter egos, mirror images, double portraits and other pairings, human and otherwise, appearing in a large variety of artistic media. Artists whose works are discussed at length include Richard Dadd, Salvador Dali, Egon Schiele, Frida Kahlo, the creators of Superman, and Nicola Costantino, among many others.
When it was published in 1979, Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imaginationwas hailed as a pathbreaking work of criticism, changing the way future scholars would read Jane Austen, Mary Shelley, the Brontës, George Eliot, and Emily Dickinson. This thirtieth-anniversary collection adds both valuable reassessments and new readings and analyses inspired by Gilbert and Gubar’s approach. It includes work by established and up-and-coming scholars, as well as retrospective accounts of the ways in which The Madwoman in the Attic has influenced teaching, feminist activism, and the lives of women in academia. These contributions represent both the diversity of today’s feminist criticism and the tremendous expansion of the nineteenth-century canon. The authors take as their subjects specific nineteenth- and twentieth-century women writers, the state of feminist theory and pedagogy, genre studies, film, race, and postcolonialism, with approaches ranging from ecofeminism to psychoanalysis. And although each essay opens Madwoman to a different page, all provocatively circle back—with admiration and respect, objections and challenges, questions and arguments—to Gilbert and Gubar's groundbreaking work. The essays are as diverse as they are provocative. Susan Fraiman describes how Madwoman opened the canon, politicized critical practice, and challenged compulsory heterosexuality, while Marlene Tromp tells how it elegantly embodied many concerns central to second-wave feminism. Other chapters consider Madwoman’s impact on Milton studies, on cinematic adaptations of Wuthering Heights, and on reassessments of Ann Radcliffe as one of the book’s suppressed foremothers. In the thirty years since its publication, The Madwoman in the Attic has potently informed literary criticism of women’s writing: its strategic analyses of canonical works and its insights into the interconnections between social environment and human creativity have been absorbed by contemporary critical practices. These essays constitute substantive interventions into established debates and ongoing questions among scholars concerned with defining third-wave feminism, showing that, as a feminist symbol, the raging madwoman still has the power to disrupt conventional ideas about gender, myth, sexuality, and the literary imagination.
