In her excellent "Feminist Art History and De Facto Significance," for example, aesthetician Susan L. Feagin explains how her initial skepticism about Continental approaches-especially those drawing on Foucault, Marx, Levi-Strauss, Lacan, and "even Derrida and poststructuralist literary theory" - gave way to an appreciation of how these approaches encourage, in a way analytic aesthetics does not, "the trenchant analyses and acute observations that have emerged from feminist art historians" (305). And, indeed, although she goes on to suggest (...) how traditional aesthetics might accommodate feminist and other politically informed analyses, she cautions that "it is too easy to miss the most innovative aspects of another's view if one tries to understand it only in terms of one's own theoretical perspective" (305). (from review by Sally Markowitz, Hypatia Vol. 11, No. 3 (Summer, 1996), pp. 169-172). (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)

Responding to a recent surge of interest in feminist art, its futures, and its history, this article considers the nature and function of the dominant narratives that circulate and structure the field. Specifically, I explore the persistent story of inter-generational strife in which a first generation of artists and historians is understood to have been naïvely mired in an essentialism of which a second, more theoretically savvy generation has been subsequently cleansed. Although one would be hard pressed to (...) identify contemporary scholars who promote this sort of generationally bound progress narrative, the story persists. Its persistence, I argue, has less to do with its truth telling ability and more to do with its ability to perform the function of disidentification. (shrink)

This article engages with the work of Scotland-based artist Kate Davis (b.1977). The discussion begins to articulate a framework for understanding Davis's work within a feminist logic of re-visioning and re-citing, strategies that are explicated and suggested as paradigmatic to feminist art production since 1970. Fundamentally, the article explores Davis's complex strategies for adopting and adapting motifs from within the archives of art history, arguing that her work constitutes a mode of visual research and historiography.

Griselda Pollock provides concrete historical analyses of key moments in the formation of modern culture to reveal the sexual politics at the heart of modernist art, exploring the writings of Elizabeth Siddall, Mary Cassatt and Berthe Morisot.

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender (...) demarcations? (shrink)

The past twenty five years have seen an explosion of feminist writing on the philosophical canon, a development that has clear parallels in other disciplines like literature and art history. Since most of the writing is, in one way or another, critical of the tradition, a natural question to ask is: Why does the history of philosophy have importance for feminist philosophers? This question assumes that the history of philosophy is of importance for feminists, an (...) assumption that is warranted by the sheer volume of recent feminist writing on the canon. This entry explores the different ways that feminist philosophers are interacting with the Western philosophical tradition. (shrink)

This article explores the importance of imagination and art when developing and working with theology, particularly feminist theology. It begins with a short review of selected periods in Christian history that either supported or warned against the use of imagination and art in classical theological development. Feminist theology has had a different history because since its inception, imagination has been central to the formation and exploration of the field. Imagination and art have continued to develop and (...) promote feminist theological worship, and backlash against feminist theology has also focused on these artistic expressions. I propose the term theological imaginizing for the intentional engagement and exploration of imagination and art with theology, and I share insights based on my field research for integrating feminist theology with art in Christian worship today. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what (...) extent formal conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (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.

Michel Foucault showed by his genealogical method that history is random. It comprises sites of disarray and dispersal. In those sites, Simone de Beauvoir wrote philosophy through lived experience of woman as Other in relation to man as the Absolute. Here lies a fecund site for revisionist analysis of female cultural production and its relevance to a philosophy of education. The paper works with a feminist approach to the politics of knowledge, examining textual and political strategies in the (...) recording of history and the ‘othering’ of women through dominant cultural discourses. Infusing this discussion is a feminist politics of interrogation on cultural change for women. The paper investigates contributions of women to fields of art, politics, education and philosophy, and to the ways their contributions have been considered, received, positioned. Different approaches to feminism become apparent in the different conditions of knowledge under discussion. This leads to a final consideration of femi... (shrink)

Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) (...) were fundamental for recognizing the exclusion of women from the history of the great visual artists and how the male gaze is a predominant kind of depiction that satisfies and is designed from a masculine and heterosexual point of view. -/- During the 1970s and 1980s it started the analysis of the male gaze in literature, film and visual arts, but also the women’s artistic production demanding its recognition. However, it was not until the 1990s that philosophical feminist aesthetics was first addressed as an important and necessary area of study with the special issues Feminism and aesthetics (Hein, Korsmeyer 1990) in “Hypatia: a journal of Feminist Philosophy”, and Feminism and traditional aesthetics (Brand, Korsmeyer 1990) in “The Journal of Aesthetics and Art Criticism”. And the first introductory book on the field, Gender and aesthetics: an introduction by Carolyn Korsmeyer (2004) was published during the first decade of the 2000s. -/- Although feminist aesthetics came later than feminist political philosophy, it appeared almost at the same time as feminist perspectives of other philosophical fields, such as epistemology and philosophy of science. Like other feminist approaches to different philosophical domains, there is not a unitary feminist perspective on aesthetics, however, despite the variety of approaches, all implicitly or explicitly demand the recognition of women in its sphere of influence, that is, philosophy and the arts. Nevertheless, contrary to other fields it does not only take contributions from analytic and continental feminism, but also from cultural theory, art history, comparative literature, film theory, psychoanalysis, just to name a few disciplines and theories. Feminist aesthetics’ literature covers a broad range of topics, but the most important are the feminist critique of philosophical aesthetics and the feminist philosophy and theory of the arts. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist (...) aesthetics. Forward by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

The essays in this volume consider how feminism has affected a range of academic disciplines - psychology, art, art history, history, social work and literary criticism. Particular attention is given to certain relationships: feminism and socialism; feminism and deconstruction; men and feminism; academic discourse and wider cultural values and theory and practice. The contributions on literary criticism deal with specific questions within that field, while those on other disciplines adopt a broad approach.

In the past two decades, feminist scholars have produced an abundance of theoretical writing in humanities and social science disciplines. The result is a body of work that is extraordinarily rich, hard to keep up with, and extremely difficult to teach.With the appearance of Theorizing Feminism: Parallel Trends in the Humanities and Social Sciences, the first genuinely interdisciplinary anthology of significant contributions to feminist theory, teachers will finally have a volume that does justice to their topic. Creatively edited, (...) with insightful introductory material, this timely reader illuminates the historical development of feminist theory as well as the current state of the field.Emphasizing common themes and interests in the humanities and social sciences, the editors have chosen those topics that have been central to feminist theory in many disciplines, that remain relevant to current debates, and that reflect the interests of a diverse community of thinkers.The contributors include leading figures from psychology, literary criticism, sociology, philosophy, anthropology, art history, law, and economics. This is the ideal text for any advanced course on interdisciplinary feminist theory, one that fills a long-standing gap in feminist pedagogy. (shrink)

In the past three decades, feminist scholars have produced an extraordinary rich body of theoretical writing in humanities and social science disciplines. This revised and updated second edition of Theorizing Feminism: Parallel Trends in the Humanities and Social Sciences, is a genuinely interdisciplinary anthology of significant contributions to feminist theory.This timely reader is creatively edited, and contains insightful introductory material. It illuminates the historical development of feminist theory as well as the current state of the field. Emphasizing (...) common themes and interests in the humanities and social sciences, the editors have chosen topics that remain relevant to current debates, reflect the interests of a diverse community of thinkers, and have been central to feminist theory in many disciplines.The contributors include leading figures from the fields of psychology, literary criticism, sociology, philosophy, anthropology, art history, law, and economics. This is the ideal text for any advanced course on interdisciplinary feminist theory, one that fills a long-standing gap in feminist pedagogy. (shrink)

Recent debates in the field of contemporary art have underlined the political importance of creative reworkings of the past, especially for those subjects that have been traditionally marginalised. A feminist perspective has been nevertheless quite absent from such debates. This article addresses feminist uses of archival documents in the visual arts through the analysis of three works produced in the past two decades: The Fae Richard's Photo Archive (1997) by Zoe Leonard and Cheryl Dunye, Some Chance Operations (1998) (...) by Renée Green and Queen of the Artists’ Studios (2004–2007) by Andrea Geyer. These works share an interest for women's histories and representations by composing a series of documents (both factual and fictive) into complex narratives where history and subjectivity intersect. (shrink)

As the first President of the Royal Academy of Arts, Joshua Reynolds played a pivotal role in shaping the course of British art in the 18th century. In these discourses, Reynolds reflects on the nature of art, the role of the artist, and the importance of aesthetic education. With insightful commentary on the works of the Old Masters and a wealth of practical advice for aspiring artists, this volume is a must-read for anyone interested in the history of art (...) or art theory. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp line between the pornographic and the artistic? Isn't it time to make room for pornographic art and for an aesthetic investigation of pornography? In (...) answering these questions this book will draw on insights from many different disciplines, including philosophy, feminist theory, aesthetics, art history, film studies, theatre studies, as well as on the experience of people who are actually operating in the art world and porn industry. By offering a variety of theoretical approaches and examples taken from a wide range of art forms and historical periods, the reader will gain a fuller and deeper comprehension of the relations and frictions between art and pornography. (shrink)

Introduction: Philosophy in a Feminist Voice? /​ Janet A. Kourany History of Philosophy: Disappearing Ink: Early Modern Women Philosophers and Their Fate in History /​ Eileen O’Neill Philosophy of Persons: "Human Nature" and Its Role in Feminist Theory /​ Louise M. Antony Ethics: Feminist Reconceptualizations in Ethics /​ Virginia Held Political Philosophy: Feminism and Political Theory /​ Susan Moller Okin Aesthetics: Perceptions, Pleasures, Arts: Considering Aesthetics /​ Carolyn Korsmeyer Philosophy of Religion: Philosophy of Religion in (...) Different Voices /​ Nancy Frankenberry Epistemology: Voice and Voicelessness: A Modest Proposal? /​ Lorraine Code Philosophy of Science: A New Program for Philosophy of Science, in Many Voices /​ Janet A. Kourany Philosophy of Language: Semantics in a New Key /​ Andrea Nye Afterword: The Feminist as Other /​ Susan Bordo. (shrink)

This article brings together feminist literary theory and law by approaching a number of U.S. Federal cases on sex equality in light of the work of the renowned feminist literary critic Naomi Schor, and shows that literary theory constitutes an under-explored resource for feminist legal critique. Schor’s writings constitute a sustained rumination on the relationship between reading and feminism. Drawing on writings on language and the body by key French feminist theorists, Schor advances a method of (...) interpretation which she terms, provocatively, ‘clitoral reading’, and which focuses on the place of details relating to women’s bodies and desires within literary and cultural discourses. In the course of her career, she analysed texts from domains as diverse as literature, philosophy, visual art, the history of fashion, and photography. I will demonstrate that her work can make a valuable contribution to legal studies by using it as an interpretative lens to re-examine U.S. Federal court judgments. (shrink)

The essays in Object-Oriented Feminism explore OOF: a feminist intervention into recent philosophical discourses--like speculative realism, object-oriented ontology (OOO), and new materialism--that take objects, things, stuff, and matter as primary. Object-oriented feminism approaches all objects from the inside-out position of being an object too, with all of its accompanying political and ethical potentials. This volume places OOF thought in a long history of ongoing feminist work in multiple disciplines. In particular, object-oriented feminism foregrounds three significant aspects of (...) feminist thinking in the philosophy of things: politics, engaging with histories of treating certain humans (women, people of color, and the poor) as objects; erotics, employing humor to foment unseemly entanglements between things; and ethics, refusing to make grand philosophical truth claims, instead staking a modest ethical position that arrives at being "in the right" by being "wrong." Seeking not to define object-oriented feminism but rather to enact it, the volume is interdisciplinary in approach, with contributors from a variety of fields, including sociology, anthropology, English, art, and philosophy. Topics are frequently provocative, engaging a wide range of theorists from Heidegger and Levinas to Irigaray and Haraway, and an intriguing diverse array of objects, including the female body as fetish object in Lolita subculture; birds made queer by endocrine disruptors; and truth claims arising in material relations in indigenous fiction and film. Intentionally, each essay can be seen as an "object" in relation to others in this collection. Contributors: Irina Aristarkhova, University of Michigan; Karen Gregory, University of Edinburgh; Marina Gržinic, Slovenian Academy of Science and Arts; Frenchy Lunning, Minneapolis College of Art and Design; Timothy Morton, Rice University; Anne Pollock, Georgia Tech; Elizabeth A. Povinelli, Columbia University; R. Joshua Scannell, CUNY Graduate Center; Adam Zaretsky, VASTAL. (shrink)

Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the perspective (...) of gender, and in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception. (shrink)

In 1967 I began writing this book in New York as an analysis of what had been enunciated in the visual arts, conditioned between technology and rebellion. When I return to Buenos Aires I continued to write (until 1972) in a different context where rebellion had revolutionary cravings for the prevailing dictatorship. In the early 1970s, very tough times began in our country (Argentina) and in Latin America in general. For that reason, I didn't publish it. It is now unquestionable (...) that what this work called "militant thinking of change" begins to develop again: the creative and answering act first and foremost in action. Its development in certain fields such as the feminist revolution, ecological awareness and the assessment of free sexual choice are manifestations of a cultural revolution. For this reason, publishing [this book] today makes sense again even if it was written half a century ago. The coordinator of the Centro Cultural de la Cooperación, Juan Pablo Pérez, wrote the appendix of the book and is the result of a series of reflections that occupied Luis Felipe Noé during his stay in New York and on his return to Argentina, between 1967 and 1972. The book was written in a period of estrangement from painting, overturned to intense writing at a time of crisis, which led Noé to another type of intellectual, political and theoretical production. (shrink)

"A first-rate introduction to the field, accessible to scholars working from a variety of disciplinary and theoretical perspectives. Highly recommended... " —Choice "... offers both broad theoretical considerations and applications to specific art forms, diverse methodological perspectives, and healthy debate among the contributors.... [an] outstanding volume."—Philosophy and Literature "... this volume represents an eloquent and enlightened attempt to reconceptualize the field of aesthetic theory by encouraging its tendencies toward openness, self-reflexivity and plurality." —Discourse & Society "All of the authors challenge (...) the traditional notion of a pure and disinterested observer that does not allow for questions of race/ethnicity, class, sexual preference, or gender." —Signs These essays examine the intellectual traditions of the philosophy of art and aesthetics. Containing essays by scholars and by the writer Marilyn French, the collection ranges from the history of aesthetic theory to a philosophical reflection on fashion. The contributions are unified by a sustained scrutiny of the nature of "feminist," "feminine," or "female" art, creativity, and interpretation. (shrink)

The paper addresses the work of Ukrainian artist Maria Kulikovska, who resorts to military equipment as artistic materials and to destruction as an artistic method. In the first section, I contextualize Kulikovska’s performative sculpture within art history, claiming that it can be regarded as Destruction Art. In the second section, I turn to Catherine Malabou’s concept of “destructive plasticity” as a philosophical tool of an aesthetics of war, which offers a sound theoretical framework to further understand the implications of (...) Kulikovska’s artistic activity. In the third section, I focus on the main material adopted by Kulikovska, ballistic soap, showing how the artist materially deconstructs inherited dichotomies that keep informing our understanding of wars. By considering the artistic practice of a feminist artist (M. Kulikovska) through the lens of feminist scholarship (K. Stiles, C. Malabou, J. Butler), the paper investigates the relations between war and the arts from a situated perspective. (shrink)

This article looks briefly at the theological history and contemporary issues surrounding children regarding sexuality and gender and explores what the future of feminist theologies has to offer them as autonomous subjects. Within this I suggest that the cross pollination of ideas from art, quantum theology and the new cosmology can enrich the future of feminist theologies by opening up the theological debate to new ways of thinking, doing and living more justly. The inclusion of children’s embodied (...) lives in the bigger theological cosmological picture allows us to engage with their subjectivity; it also challenges existing patriarchal values that dominate and affect the future flourishing of our radical human equality, the equality of all life and the planet Earth itself. (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited (...) sexual objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

Introduction -- Great Mother Nature -- The gendering of nature as female : from prehistory through the Middle Ages -- Nature and art in the Quattrocento : from pupil to equal -- Technology and the mastery of physical nature : Brunelleschi and Alberti -- Genesis and the reproduction of life : Masaccio and Michelangelo -- The rebirth of Venus and the feminization of beauty : Botticelli -- A balance of power : pictorial metaphors for nature in transition -- Nature's special (...) child : Leonardo da Vinci -- The goddess in Arcady : Giorgione -- Art and nature in the Cinquecento : from competitor to master -- Love and death in Venice : Titian -- Art against nature : Raphael, the early Mannerists, and late Michelangelo -- Natura bound : the later Tuscan Mannerists -- Epilogue. (shrink)

Mary Devereaux has suggested, in an overview of feminist aesthetics[1], that feminist aesthetics constitutes a revolutionary approach to the field: "aesthetics cannot simply 'add on' feminist theories as it might add new works by [ Nelson ] Goodman, Arthur Danto or George Dickie. To take feminism seriously involves rethinking our basic concepts and recasting the history of the discipline." In particular, feminist theory involves a rejection of "deeply entrenched assumptions about the universal value of art (...) and aesthetic experience." Overthrowing these assumptions "constitutes what art historian, Linda Nochlin, describes as a Kuhnian paradigm shift."[2] Near the end of her essay, Devereaux returns to this theme: "If feminism constitutes a new paradigm, then we may wish to ponder how far the old model of aesthetics and the new are commensurable. Is traditional aesthetics contingently or necessarily associated with patriarchy? Can the 'gender-neutral' aesthetics of the traditional model be reformed or must it be rejected?". (shrink)

This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, (...) affording a nurturing of alterity through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women's theorising as a crucial component of the methodological metissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence. (shrink)

In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the (...) feminist critique at the same time lays bare its conceptual smugness, its meta-historical naïveté. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations. (shrink)

Richard McCormick examines the concepts of postmodernity and postmodernism as they apply to West Germany, discussing them against the background of cultural and political upheaval in that country since the 1960s, rather than exclusively in the more familiar setting of intellectual history. Considering six literary and cinematic texts that are marked by a preoccupation with the self and subjectivity, he underscores the crucial influence of feminism on writers and filmmakers--and on the "postmodern." In a broad international context he describes (...) the conflicting forces that affected the West German student movementthe rationalistic tradition of the Weimar Left and more "irrational" influences such as French existentialism and surrealism (as well as the American "Beat" movement and rock & roll)--and shows how these forces played themselves out so that dogmatic Marxist Leninism was repudiated in favor of a "New Subjectivity.". At the center of the discussion are the novels Lenz by Peter Schneider, Class Love (Klassenliebe) by Karin Struck, and Devotion by Botho Strauss, and the films Wrong Move written by Peter Handke and directed by Wim Wenders, Germany, Pale Mother by Helma Sanders-Brahms, and The Subjective Factor by Helke Sander. The author shows how ongoing attempts to attack the separation of emotion from reason, life from art, the private from the public, and the personal from the political brought about changes in outlook, from the 1960s to the early 1980s, that are related to the rise of new political movements--ecology, nuclear disarmament, and feminism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (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)

At no point in recorded history has there been an absence of intense, and heated, discussion about the subject of how to conduct relations between women and men. This Handbook provides a comprehensive guide to these omnipresent issues and debates, mapping the present and future of thinking about feminist theory. The chapters gathered here present the state of the art in scholarship in the field, covering: epistemology and marginality; literary, visual and cultural representations; sexuality; macro and microeconomics of (...) gender; conflict and peace. The most important consensus in this volume is that a central organizing tenet of feminism is its willingness to examine the ways in which gender and relations between women and men have been (and are) organized. The authors bring a shared commitment to the critical appraisal of gender relations, as well as a recognition that to think 'theoretically' is not to detach concerns from lived experience but to extend the possibilities of understanding. With this focus on theory and theorizing about the world in which we live, this Handbook asks us, across all disciplines and situations, to abandon our taken-for-granted assumptions about the world and interrogate both the origin and the implications of our ideas about gender relations and feminism."--Publisher description. (shrink)

This article is about the power of critical thinking through embryos and embryology in bioart. In this instance, critical thinking does not promise revolution or a takedown of bioengineering, but basic empowerment through scientific knowledge. I argue that the use of embryos in Jill Scott’s Somabook (2011) and Adam Zaretsky’s DIY Embryology (2015) constitutes an instance of what Philip Galanter identifies as complexism. In turn, the complexism of embryology reveals two modes of critical thinking. First, embryology distils the awe and (...) wonder that come with basic scientific literacy. In turn, scientific literacy provides agency for individuals through a trifecta of feeling, belief and pragmatism: based on the frisson of curiosity and wonder that comes with recognizing biological complexity, it frees individuals from the bounds of superstition and metaphysics while building a path to fact-based problem solving. Second, as works of art bearing embryos they are part of the politics and history of embryology that emerged in contrast to genetics almost a century ago. Distinct from the coding of genetics as nucleus-centric, separate, homogeneous, a matter of being, and male, embryology was coded as cytoplasmic, interactive, heterogeneous, a matter of becoming, and feminist. (shrink)