Rethinking 'Inside the Visible'

This essay appears in the first book to examine feminist curatorship in the last 40 years. It undertakes an extended reading of Cathy de Zegher's influential exhibition, Inside the Visible, An Elliptical Traverse of 20th Century Art. In, of and From the Feminine (1995) which proposed that modern art should be understood through cyclical shifts involving the constant reinvention of artistic method and identified four key moments in 20th century history to structure its project. The essay analyses Inside the Visible's concept of an elliptical traverse to raise questions about repetitions and recurrences in feminist exhibitions of the early 1980s, the mid 1990s and 2007 asking whether and in what ways questions of feminist curating have been continuously repeated and reinvented. The essay argues that Inside the Visible was a key project in second wave feminism and exemplified debates about women's time, first theorised by Julia Kristeva. It concludes, however, that 'women's time' has had its moment, and new conceptions of feminism and its history are needed if feminist curating is not endlessly to recycle its past. The essay informs a wider collaborative project on the sexual politics of violence, feminism and contemporary art, in collaboration with Edinburgh and one of the editors of this collection.

Balancing act: exploring the tone of The Life Aquatic with Steve Zissou

This paper provides an analysis of The Life Aquatic in the context of debates around tone, irony, the Smart Film, the New Sincerity and the Quirky. It argues that Anderson is one of a small but significant number of filmmakers to escape from the indiscriminate irony of fin de sie`cle cinema, and finds The Life Aquatic Aquatic a particularly interesting film in which to explore such matters because of its ready artifice, strong elements of pastiche and measuredly preposterous excesses. Offering a critical analysis, the paper balances an engagement with some of the systemic elements of the film’s tone with the detailed organisation of tonal elements in particular sequences.

Sarah Kane: Cool Britannia’s reluctant feminist

Aleks Sierz in his important survey of mid 1990s drama has identified the plays of Sarah Kane as exemplars of what he terms ‘In-Yer Face’ theatre. Sierz argues that Kane and her contemporaries such as Mark Ravenhill and Judy Upton represent a break with the ideological concerns of the previous generation of playwrights such as Doug Lucie and Stephen Lowe, whose work was shaped through recognizable political concerns, often in direct opposition to Thatcherism. In contrast Sarah Kane and her generation have frequently been seen as literary embodiments of ‘Thatcher’s Children’, whereby following the fall of the Berlin Wall and the inertia of the Major years, their drama eschews a recognizable political position, and seems more preoccupied with the plight of individuals cut adrift from society. In the case of Sarah Kane her frequently quoted statement, ‘I have no responsibility as a woman writer because I don’t believe there’s such a thing’, has compounded this perception. Moreover, its dogmatism also echoes the infamous comments attributed to Mrs Thatcher regarding the role of the individual to society. However, this article seeks to reassess Kane’s position as a woman writer and will argue that her drama is positioned somewhere between the female playwrights who emerged after 1979 such as Sarah Daniels, Timberlake Wertenbaker and Clare McIntyre, whose drama was distinguished by overtly feminist concerns, and its subsequent breakdown, best exemplified by the brief cultural moment associated with the newly elected Blair government known as ‘Cool Britannia’. Drawing on a variety of sources, including Kane’s unpublished monologues, written while she was a student just after Mrs Thatcher left office, this paper will argue that far from being an exponent of post-feminism, Kane’s drama frequently revisits and is influenced by the generation of dramatists whose work was forged out the sharp ideological positions that characterized the 1980s and a direct consequence of Thatcherism.

Taylor v Caldwell (1863)

A Landmark Case is one which stands out from other less remarkable cases. Landmark status is generally accorded because the case marks the beginning or the end of a course of legal development. Taylor v Caldwell is regarded as a landmark case because it marks the beginning of a legal development: the introduction of the doctrine of frustration into English contract law. This chapter explores the legal and historical background to the case to ascertain if it is a genuine landmark. A closer scrutiny reveals that while the legal significance of the case is exaggerated, the historical significance of the cases reveals an unknown irony: the case is a suitable landmark to the frustration of human endeavours. While the existence of the Surrey Music Hall was brief, it brought insanity, imprisonment, bankruptcy and death to its creators.

Terrorist transgressions: gendered representations of the terrorist in visual culture

The aim of Terrorist Transgressions is to analyse the myths inscribed in images of the terrorist and identify how agency is attributed to representation through invocations and inversions of gender stereotypes. In modern discourses on the terrorist the horror experienced in Western societies was the appearance of a new sense of the vulnerability of the body politic, and therefore of the modern self with its direct dependency on security and property. The terrorist has been constructed as the epitome of transgression against economic resources and moral, physical and political boundaries. Although terrorism has been the focus of intense academic activity, cultural representations of the terrorist have received less attention. Yet terrorism is dependent on spectacle and the topic is subject to forceful exposure in popular media. While the terrorist is predominantly aligned with masculinity, women have been active in terrorist organisations since the late 19th century and in suicidal terrorist attacks since the 1980s. Such attacks have confounded constructions of femininity and masculinity, with profound implications for the gendering of violence and horror. The publication arises from an AHRC networking grant, 2011-12, with Birkbeck, and includes collaboration with the army at Sandhurst RMA. The project relates to a wider investigation into feminism, violence and contemporary art.

Staging the Sherleys' Travails

The remarkable Sherley brothers and their maverick diplomacy evidently appealed to early seventeenth-century readers, and dramatists recognised the theatrical potential their adventures offered. Scholars have been drawn to The Travailes of the Three English Brothers for its depiction of encounters with 'others', as a portrait of early modern England's ambitions beyond its shores. This article examines how, rather than serving as propaganda, as Thomas Sherley must have hoped, the theatrical treatment exposed the brothers to a sustained critique, deploying irony to undercut the heroic motives to which they laid claim and revealing the ideological fault lines at the heart of their enterprise.

Women of Substance : The Aspect of Education, Career and Female Identity in Pride and Prejudice and Bridget Jones's Diary

Although two hundred years separate Jane Austen and Helen Fielding and, subsequently, also their portrayals of society, the similarities outweigh the differences. When juxtaposing Pride and Prejudice and Bridget Jones’s Diary in the light of feminism it is evident that both books provide clear examples of the prevailing situation of women in each time and place. The aspects of the study, which are especially important today, show both the development and some degree of stagnation of women’s rights and identities.

Alltjämt i skuggan av mannen? : En genusbaserad diskursanalys av läromedlet Perspektiv på historien 1b

Föreliggande uppsats är en genusinriktad och diskursanalytisk studie som undersöker det nya läromedlet Perspektiv på historien 1b, (2011), som utkommit i samband med de nya kursplanerna i historia och läromedlet är specifikt gjord för kursen historia 1b. I studien analyseras om nämnda läromedel har ett genusperspektiv och om den nya kursplanen förespråkar ett sådant. Diskursanalysen som används utgår från Winther Jørgensen och Philips, diskursteori i Diskursana-lys som teori och metod, (2000). Jag har också kombinerat denna diskursteori beträffande metod med en så kallad genustrappa, som utgår från den Edwertz och Lundström själva komponerat i deras studie, Jämställdhets- och genusperspektiv i kurslitteraturen, (2003). Dessutom analyseras också några av förekommande bilder utifrån Hirdmans Genuskontrakt hon bl.a. beskriver i Genus - om det stabilas föränderliga former, (2001) Två avhandlingar som också haft betydelse för min studie är Ambjörnssons, I en klass för sig: Ge-nus, klass och sexualitet bland gymnasietjejer, (2004) samt Bergs, Självets Garderobiär: Självreflexiva genusle-kar och queer socialpsykologi, (2008). Även kvinnohistorikern Ohlander med bl.a. hennes och Ström-bergs bok Tusen svenska kvinnoår: Svensk kvinnohistoria från vikingatid till nutid, (2008), och genus forskaren Gemzöe och hennes bok Feminism(2008), har varit betydelsefulla för denna studie. Studien utvisar att kursplanen förespråkar ett genusperspektiv om än inte direkt uttalat och Per-spektiv på historien 1b, har också ett visst inslag av genusperspektiv men inte genomgående, det finns däremot mer av ett jämställdhetsperspektiv i boken, då boken lyfter fram skillnader och orättvisor mellan män och kvinnor i historien, men långt ifrån alltid problematiserar detta.

”He looked at me ... My God. His eyes were eyes to die for.” : A Feminist Theological Reading of Carol Ann Duffy’s The World’s Wife

Most approaches to Duffy’s work have been a feminist reading of poetry, focusing on the portrayal of women within the theoretical framework of feminism. However, little attention has been paid to the religious elements in Duffy’s work, something that Duffy herself has recognized. This essay will therefore focus on the centrality of religion in Duffy’s work, and will argue that her poems constitute an arena where religion is redefined and female experience and theology are reconciled. The poems under focus, “Delilah”, “Salome”, “Pilate’s wife”, “Pope Joan”, “Mrs Lazarous” and “Queen Herod” are examined in two separate sections: their portrayal of love and sexuality, and their portrayal of motherhood respectively, within the theoretical framework of feminist theology.

"¡Cáncer es una mujer pegada como una sanguijuela sesenta años succionándole el alma!" : Un examen de los rasgos misóginos en la novela El desbarrancadero de Fernando Vallejo

El desbarrancadero, published in 2001 by Colombian author Fernando Vallejo is foremost a moving story about brotherly love, but it is also a highly critical novel that lashes out on a number of phenomena such as the catholic church, the Pope and the very idea of religion. It also addresses the poverty of Colombia, its corrupt politicians, the drug trade, viral diseases and animal abuse to mention a few more subjects. This essay however, does not aim to explore any of the above mentioned matters but rather examine how women are portrayed in this novel. The objective of this investigation, based on feminist theories, is to establish the very clear presence of misogyny attitudes.

Från kvinnans problem till problemfri kvinna : En undersökning av audiovisuell reklam för sanitetsprodukter till menstruerande kvinnor mellan åren 1970 och 2000

This thesis tries trough qualitative analyzes to illuminate advertising and its didactic aspects, how menstruation and menstruating women are portrayed over time. The method underlying the survey is didactic, diachronic comparative and hermeneutic. There will also be a feminist point of view on the material. The issue is about how the advertisement presents sanitary products and menstruation and how a menstruating woman is portrayed.The conclusion is that the image of a menstruating woman changes slightly while consolidating the ethos that menstruation should not be visible. The menstruating woman is in constant motion, always fresh and fragrant.

”Varför tar man för givet att feminismen måste vara sekulär?” : En studie om muslimska feminister i svensk kontext

The purpose of this study is to examine how two Muslim feminists perceive themselves to betreated by the Swedish majority society and within the secular feminist movement. Thesurvey was conducted using qualitative method with a total of two interviews. For the study'stheoretical perspectives, I have used postcolonialism and postcolonial feminism. The result ofthe survey and the analysis show that the informants say that they face an image of Muslimwomen as considered being under oppression. The informants believe that this stereotypicalimage has its origin from the colonial period. The question that is most important for themwithin feminism is to be treated as a feminist and as a Muslim without being questioned. Theyfeel like it's hard to identify with the Swedish secular feminism, but they also feel that thegroup of Swedish secular feminists have a difficulty identifying themselves with Muslimwomen too. Consider this, one of the informants does not feel welcome among Swedishsecular feminism while the other one never had an interest in becoming a member of itbecause she did not consider them to strive for the same goal as herself. The informantsclaims that there are opportunities for them to speak in the public debate, but as Muslimfeminists they are facing a bigger struggle.