WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL最新文献

{"title":"Queer Women in Modern Spanish Literature: Activism, Sexuality, and the Otherness of the “Chicas Raras.”, edited by Simón-Alegre, Ana I. and Lou Charnon-Deutsch","authors":"Azucena Trincado Murugarren","doi":"10.1080/00497878.2022.2156506","DOIUrl":"https://doi.org/10.1080/00497878.2022.2156506","url":null,"abstract":"","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"52 1","pages":"144 - 146"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46201750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Populism and Surrogacy in Spain","authors":"Katharine Aha, C. Ross, Catherine Hiebel","doi":"10.1080/00497878.2022.2147178","DOIUrl":"https://doi.org/10.1080/00497878.2022.2147178","url":null,"abstract":"The 2015 Spanish national parliamentary elections marked a new era in Spanish politics as the traditional two-party system was disrupted by the emergence of new populist parties that capitalized on a widespread frustration with the status quo. Since that landmark election, Spain’s party system continues to be fractured, demonstrating the shift away from the post-Franco era dominance of the Partido Popular (Popular Party or PP) and the Partido Socialista Obrero Español (Spanish Socialist Workers’ Party or PSOE). The populist newcomers have positioned themselves across the political spectrum: Podemos on the left, Ciudadanos near the center, and Vox on the far right. Despite ideological differences, they all have committed themselves to the populist notion of changing establishment politics, explained by Ciudadanos as a pledge to political “regeneration” (Encarnación). These new parties have grappled with how to capture support from voters, like women, who are frustrated with traditional representation. In order to stand out, Spain’s populist parties have staked out positions on issues that have not received much attention in the past. One such issue, gestational surrogacy, is a fascinating example of how populism and women’s issues interact. Gestational surrogacy is defined as the implantation into the womb of the surrogate mother of an embryo created through in vitro fertilization with gametes from the intended parents or donors (Foret and Bolzonar 1). Ciudadanos sought to gain votes from socially liberal, family-oriented Spaniards, especially women, by including support for surrogacy in its platform, prompting Podemos and Vox to oppose lifting Spain’s current surrogacy ban. While the issue of surrogate motherhood only affects a small percentage of the population at large, Spain’s traditionally restrictive stance on surrogacy, or as detractors call it, womb rental (alquiler de vientres), makes this topic a flashpoint of debate, particularly as more Spanish couples pursue the option of surrogacy abroad. Additionally, it stands out from other feminist issues, like abortion, as it has traditionally received opposition from both the","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"52 1","pages":"1 - 21"},"PeriodicalIF":0.2,"publicationDate":"2022-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43099929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards a Feminization of Time in Michael Cunningham’s The Hours (1998) and Sahar Al-Mouji’s the Musk of the Hill (2017)","authors":"Marwa Alkhayat","doi":"10.1080/00497878.2022.2145564","DOIUrl":"https://doi.org/10.1080/00497878.2022.2145564","url":null,"abstract":"The two novels at hand, Michael Cunningham’s The Hours and Sahar AlMouji’s The Musk of the Hill, address the nature of time in personal experiences through multiple interwoven stories. Cunningham’s The Hours is a reworking of Woolf’s Mrs. Dalloway (1925) in which aspects of Woolf’s life, criticism, and novels are elegantly intermingled. The original title for Mrs. Dalloway was The Hours, a writing enterprise conveying the significance of time to offer a deep insight into the human mind within the framework of the stream-of-consciousness technique. Cunningham’s remaking of the original novel is a rhizomatic exploration of the fragmentation and multiple nature of the self to empower the female identity as a multiplicity. The uniqueness of Cunningham’s The Hours resides in the ability to fictionalize females’ lives outside the orthodox male-centered patterns to foreground “three women of ambivalent sexuality, one of whom is Virginia Woolf” (Wroe 1), and to interrogate hierarchical, fixed, and linear writing. The Musk of the Hill, on the other hand, is a tale of psychotherapy. It dramatizes the moments of transformation of both Catherine Earnshaw, the stubborn protagonist of Emile Brontë’s Wuthering Heights, and Amina, the docile wife of Naguib Mahfouz’s Trilogy. The fictional protagonists’ radical transformation takes supremacy over plot construction with complete loss of authorial control through the dual temporality of the past and the present. This zestful aesthetic act manifests an intellectual originality by positioning Cathy and Amina in twenty-first-century Cairo so they can experience contemporary political events within the clock-inner time dichotomy. The Musk of the Hill is a critique of patriarchal ideology and a psychoanalytic study of the female subjectivity.","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"52 1","pages":"339 - 361"},"PeriodicalIF":0.2,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47827351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eileen Myles in Conversation with Maggie Nelson","authors":"E. Myles, M. Nelson","doi":"10.1080/00497878.2022.2138029","DOIUrl":"https://doi.org/10.1080/00497878.2022.2138029","url":null,"abstract":"","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"51 1","pages":"880 - 898"},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46344865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Writing Life is a Lift","authors":"","doi":"10.1080/00497878.2022.2160164","DOIUrl":"https://doi.org/10.1080/00497878.2022.2160164","url":null,"abstract":"","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"51 1","pages":"859a - 859a"},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44453063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eileen Myles Now","authors":"R. Campbell, J. Duncan, Jack Parlett","doi":"10.1080/00497878.2022.2127722","DOIUrl":"https://doi.org/10.1080/00497878.2022.2127722","url":null,"abstract":"In the conversation between Eileen Myles and Maggie Nelson that we commissioned for this issue, the two writers begin by reflecting on the recent article about Myles published in The New York Times (May 18, 2022). The article focuses on Myles’ fight against the destruction of trees in East River Park on the Lower East Side of Manhattan, close to the apartment where Myles has lived since the 1970s. Myles complains of the article, “I’m so sick of the public account of who I am. It’s not like I think I’m a household name, but those same particular details have been trotted out so many times – it’s like sitting through a boring introduction of yourself at a reading.” It is perhaps inevitable that any biographical account of Myles will bore its subject, whose various existences include being a subcultural icon. Nelson responds to this problem, though, by reflecting on how the narrative of Myles’ life and work continually changes, if only by, for example, adding more decades to the amount of time Myles has lived in New York City. Nelson declares, “wow, what an honor for me to have heard you thinking about time, for the past thirty years,” which leads Myles to reflect on how the “constant movement” of time exists beyond any judgment of its quality: “I think probably the thing that was so disturbing about what happened in the park was the trees are that too. They’re this incredibly beautiful collective austere rendition of time that we live among and around. And a park is one of the many studios of the writer.” In American (and specifically New York City) poetry, trees and leaves become, both literally and metaphorically, books, poems, and people. Think, for example, of Whitman’s Leaves of Grass (1855), John Ashbery’s Some Trees (1956), and Myles’ own Sorry, Tree (2007). Myles has themself been around since 1949, and their work – currently twenty-two books, with a new anthology of Pathetic Literature announced on Instagram as we write – is itself being increasingly recognized as a beautiful collection of time. As is the case for Nelson and many others, for we who are editing this special issue of Women’s Studies on “Eileen Myles Now,” reading, writing and thinking about Myles’ work has become part of our living room, our studio. Our","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"51 1","pages":"859 - 874"},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43209923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Signifying Dog: Afterglow’s Afterglow","authors":"J. Goldman","doi":"10.1080/00497878.2022.2149521","DOIUrl":"https://doi.org/10.1080/00497878.2022.2149521","url":null,"abstract":"^ afterglow’s afterglow is like flush’s flush & everything is rosie & getting like pinka & i-i’m in it too a wee woolf-pup up in the night caught between prowl & nuzzle listen to them read i-i like the way eileen leans into their own name just to put their butt in the place flush’s flushes are legion flush was played on stage by a dog also named flush their sole role in life with an understudy also named flush i-i’m glad honey is honey & not rosie & gets a film of her own with puppets of her own & when her subtitles say don’t make me human & i-i’m not a mountain either i-i can’t help think of rose before the wave & eileen smitten etching her into an eternally","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"51 1","pages":"876 - 879"},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46786670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shiny Collisions: Editing as Serious Humor in dodgems","authors":"Stephanie Anderson","doi":"10.1080/00497878.2022.2130314","DOIUrl":"https://doi.org/10.1080/00497878.2022.2130314","url":null,"abstract":"Imagine the sensory chaos of the bumper car rink: the thumps and screeches, the laughter and shouts, the vibrations of the floor. In the little magazine dodgems, two issues of which were published in 1977 and ’79, editor Eileen Myles sought to create a space where poems from different scenes metaphorically slam against each other like bumper cars. Myles says, “It was my favorite ride in the amusement park in Revere Beach, Mass. I loved riding in those cars, deliberately smashing other kids. It was a total vehicle for tomboy rage” (“About dodgems”). The accident-on-purpose, bumper cars are a sanctioned way to unleash aggression, as when children deliberately do something and claim it was an accident, not sure themselves of their own impulses. That this subliminal energy, on the knife’s edge between play and fight, should then get aestheticized in dodgems reveals how modes of aggression – competitiveness, coercion, insult – are present in artistic circles, and how they are often conveyed through humor: as a game, bumper cars are not only fun but also can be funny, depending on who is driving, who is observing, and who is getting hit. The humor in Myles’s writing, especially the prose, is often stylistic: it involves a conversational, straightforward syntax that sometimes shades into deadpan and plays with our expectations regarding the differences between speaking and writing. This essay argues that their editing of dodgems is shaped by a serious consideration of how humor functions in group dynamics, including how it indicates who is included and who is excluded, how it reinforces aesthetic expectations, and how it shapes even the imagined reader. It is perhaps intuitive to think about artistic circles as places of creative foment, often collaborative, and further, to think about an editor’s role in shaping and guiding that foment. But as we also know, little magazines provide more than a showcase; their pages reveal gossip – itself a complex and constitutive force, as Reva Wolf argues – and skirmishes, and slights. Myles’s editorial practices emphasize humor and its lack as a strategy to both draw attention to and defuse the dynamics of group formation in the late seventies, in the context of burgeoning contemporaneous scholarship about the so-called firstand secondgeneration New York Schools. Furthermore, their use of editorial humor","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"51 1","pages":"925 - 944"},"PeriodicalIF":0.2,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47486849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women-Centered Diaspora in Toni Morrison’s A Mercy","authors":"Qianqian Li","doi":"10.1080/00497878.2022.2145478","DOIUrl":"https://doi.org/10.1080/00497878.2022.2145478","url":null,"abstract":"Scholars have been much concerned with Toni, Morrison’s portrayal of states of exile and displacement in A Mercy (2008). However, most critics discuss the characters’ diaspora in terms of race and ethnicity, focus on how their racial and ethnic backgrounds contribute to their orphanhood, and overlook Morrison’s depictions of women’s specific diasporic experiences compared to men’s. The lack of a distinctly feminist viewpoint leads critics to ignore not only the specificity of women’s diaspora but also the liberating potential that diasporic experiences may generate. Existing discussions mostly treat the characters’ diaspora in A Mercy negatively and examine both how the characters are victimized by their dislocation and how they at the same time employ their wits to counteract the side effects of their dislodgement. As a result, critics tend to overlook how diaspora per se may also generate a liberating space for women where women can free themselves from a rigid patriarchy. Different from men who may lose masculine privileges in becoming diasporic subjects, women in diaspora are usually viewed from two opposite perspectives: on the one hand, diaspora may provide them with opportunities to transcend national boundaries and escape from the strict gender norms that are imposed on them; on the other hand, it may also assist in reproducing those norms and even increase women’s sufferings due to the intersection of oppressions due to gender, race, ethnicity, and nationality in the precarious space of diaspora. As Nadje Al-Ali writes, “one underlying issue which has interested feminist scholars of different disciplinary backgrounds is the question of whether diasporas provide enabling contexts in which previous gender norms can be challenged or whether they reproduce and possibly even harden existing gender ideologies and relations” (119). Given women’s special diasporic experiences, this article proposes to read Morrison’s A Mercy as a story of multiethnic women’s diaspora and analyze","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"52 1","pages":"320 - 338"},"PeriodicalIF":0.2,"publicationDate":"2022-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47444763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Class, Crisis, and the Commons in Eileen Myles’ Late Work","authors":"M. Holman","doi":"10.1080/00497878.2022.2134129","DOIUrl":"https://doi.org/10.1080/00497878.2022.2134129","url":null,"abstract":"Twenty-four years after running for President of the United States, on a platform of combating the AIDS epidemic and providing housing for all, Eileen Myles wrote an “Acceptance Speech.” It is partly – but only partly – a joke. Staged on a “beautiful rapturous sunny day in New York” (114), Myles poses as the President-Elect of the 2016 national election, a position later reserved in reality by Donald Trump, and implores their imagined electorate “to turn around, to look back and look at all that we’ve won” (114). Myles admits that they “may be getting ahead” of themselves, and that they may also be the only President to have eaten at the Bowery Mission and devoured “very rubbery, very chewy chicken” with the homeless, as well as the only President to identify as a “dyke” (114). They call for a New Deal-style program of radical redistribution of resources: multiplying the National Endowment of the Arts by tenfold, the refunding of the CETA Employment of Artists which federally employed more than 10,000 artists between 1974 and 1981, and the opening up of that “metonym,” The White House, to veterans of the “pointless wars” of Iraq and Afghanistan (114). It is difficult to see the invitation to “look back” on the victory of progressive politics in the United States, particularly from the vantage point of 2016, as anything other than ironic or profoundly misjudged. However, “Acceptance Speech” is a contradictory and lyrical text that defies easy categorization; it refuses to be, or to be only, a melancholic lament for progressive programs articulated through the cool detachment implicit in a tone of mock-triumph and humorous ambivalence. One summative reading might be: the national political battles have been lost, and instead, against those losses, we take up the call for “an art in America” (114). Myles, however, has consistently refused to acknowledge this as a retreat from forms of political commitment, and in an interview centered on “Acceptance Speech,” they defended “poetry [as] vastly political” and “as much a multiple as people and languages are . . . Even a poet who resists the idea that their work is political, that’s their politics” (qtd. in; Satran). Indeed, beyond the hyperbolic historical revisionism of its ostensible premise, “Acceptance Speech” performs a sincere ideological gesture: by self-consciously repurposing the epideictic rhetoric of shared","PeriodicalId":45212,"journal":{"name":"WOMENS STUDIES-AN INTERDISCIPLINARY JOURNAL","volume":"51 1","pages":"965 - 982"},"PeriodicalIF":0.2,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42653347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}