Women-A Cultural Review最新文献

{"title":"The Ecology of Transformation","authors":"Sita Balani","doi":"10.1080/09574042.2022.2129555","DOIUrl":"https://doi.org/10.1080/09574042.2022.2129555","url":null,"abstract":"In August 2013, the construction site of a police firearms training centre at Black Rock Quarry in Portishead was set ablaze. The £16 million addition to Britain’s police industrial complex was to include firing ranges, interactive target systems, fake houses (presumably to ‘practice’ raids) and an abseil training area, and would have been used by Avon and Somerset, Gloucestershire and Wiltshire police forces. The arson attack was claimed by an organization called the Informal Anarchist Federation (IAF), whose provocative communique insisted: ‘It put smiles on our faces to realise how easy it was to enter their gun club and leave a fuck you signature right in the belly of the beast.’ The fire burnt for 13 days, and required a special pump from Wales to deliver extra water to quell the flames. While there can be no doubt that the police ploughed tremendous resources into the investigation, no one was ever charged or convicted over the attack. Despite serving a tremendous economic blow to the policing regime and its rapid militarization, the impact on the political culture was extremely muted. It sparked little public conversation about the role and nature of policing, garnered minimal press attention, and even among activists deeply embedded in movements against the carceral state, it is rarely discussed. Though what was left after the fire had to be demolished, funded by the public purse as benefits were cut and women’s centres shuttered, the training centre—firing ranges and abseil ropes galore—was built and opened just two years later. The memory of this event seemed to burn out as soon as the flames were quelled. Over the last ten years, I have thought often about this event and its strange disappearance from popular or activist consciousness. Reading Abolition. Feminism. Now. I found a new language through which to make sense of that which appears to be lost or forgotten. This new collaborative effort by Angela Y. Davis, Gina Dent, Erica Meiners and Beth Angela Y. Davis, Gina Dent, Erica Meiners and Beth Richie, Abolition. Feminism. Now., Penguin, 2021, 272 pp., £10.99 paperback ISBN: 9780241543740","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"5 1","pages":"435 - 438"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83330585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘If I had any luck, he’d be a corpse’: Harriet Vane and the Psychogeographic Nature of Detection","authors":"Sarah Martin","doi":"10.1080/09574042.2023.2183627","DOIUrl":"https://doi.org/10.1080/09574042.2023.2183627","url":null,"abstract":"Abstract This article examines the role of women within the culture and society of the interwar period, or, precisely, the 1930s. Through examining the crime fiction of Dorothy L Sayers and focusing specifically on Have His Carcase the figure of the female detective is shown to be inherently psychogeographic. The article, then, analyses the way in which Harriet Vane functions as a psychogeographer through her methods of detection. It goes on to argue that it is the way in which Harriet’s detection methods operate that allows the text to critique the cultural, social and physical place of women in society and culture of the 1930s. With a close examination of walking within the cultural context of the holiday space, the spaces which women inhabit during the 1930s are shown to be influential and significant in the process of successful detection.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"101 1","pages":"380 - 393"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88935947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Feminist Library","authors":"Victoria Stewart","doi":"10.1080/09574042.2022.2129600","DOIUrl":"https://doi.org/10.1080/09574042.2022.2129600","url":null,"abstract":"As Alison Light points out in the introduction to this new collection of her writing, Inside History is a little reminiscent of a festschrift, though one in which the contributions are written by the subject herself. But Light notes that since 1995 she has not held a full-time academic post, and many of the essays presented here were originally written for publications aimed at a general rather than specifically academic readership. Indeed, one of the themes of Light’s work since the 1980s has been to interrogate that distinction between ‘general’ and ‘academic’ readers, not only by giving popular works of literature the kind of scrutiny that had previously largely been reserved for ‘classics’, but also by considering issues of education, class and identity in the context of life-writing. It’s worth remembering that when Light published her still hugely influential book Forever England: Femininity, Literature and Conservatism Between the Wars (1991), it would have seemed unlikely that there would be an academic conference devoted to the legacy of Daphne Du Maurier’s 1938 novel Rebecca (at the time of writing ‘Re-imagining Rebecca’ was scheduled to be held at the University of Sussex in May 2022). That the middlebrow would be a category almost as fiercely contested and debated as modernism might equally have been surprising. As Light points out, scholars in cultural studies and film were breaking ground where English would follow, and her writing consistently illustrates a determination not to be confined by traditional academic categorisations. This isn’t just a case of employing an interdisciplinary approach, or, for instance, examining Alfred Hitchcock’s 1940 film adaptation of Rebecca alongside the novel, as Light does in ‘Hitchcock’s Rebecca: A Woman’s Film?’, first published in Sight & Sound in 1996. It extends to the self-reflexive strand in Light’s work. For instance, in ‘Outside History? Stevie Smith, Women Poets and the National Voice’, which appeared in English in 1994, Light moves from a comparison between Smith and Philip Larkin in relation to the notion of ‘Englishness’ to reflect on the role of poetry as a means of inculcating Alison Light, Inside History: From Popular Fiction to Life-Writing. Edinburgh: Edinburgh University Press, 2022, x +234 pp., £85, ISBN: 9781474481557","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"14 1","pages":"432 - 434"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90764554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Somatic Communication: Motherhood and Transference in Layli Long Soldier’s Poetry","authors":"Stephanie Papa","doi":"10.1080/09574042.2023.2183620","DOIUrl":"https://doi.org/10.1080/09574042.2023.2183620","url":null,"abstract":"Abstract Layli Long Soldier’s debut collection of poetry, WHEREAS, has been primarily framed as a defiant counter-discourse to the allusive 2009 federal apology to native communities, particularly her poems addressing the document directly. Little attention, however, has been given to Long Soldier’s unpredictable aesthetic choices as she translates her experience of motherhood, daughterhood, and womanhood through a subjective female lens, which equally emphasize the gravity of this unapologetic federal document. I argue that Long Soldier reinvents lyrical prose and visual poetry through what I call thought-music—the poet’s mode of accessing and translating her inner dialogue using alternative punctuation, inventive forms, and white space or ‘functional white’ [White, Orlando (2015), ‘Functional White: Crafting Space & Silence’, The Poetry Foundation, 3 November, at https://www.poetryfoundation.org/harriet/2015/11/functional-white-crafting-space-silence]. In doing so, she interrogates the body’s modes of receiving and transference, and composes ‘embodied geographies’ [Goeman, Mishuana (2013), Mark My Words: Native Women Mapping Our Nations, Minneapolis: University of Minnesota Press]; poems tethered to mental and physical intimacies as a mother and Lakȟóta language learner within her community. The poet’s punctuation, typographical architecture, and white space construct a somatic perspective, suggesting that communication is physical, contrary to the colonial rhetoric in the federal apology.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"28 1","pages":"395 - 413"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77003883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond Just Looking: Assorted Treasures of the Offline Shopping World","authors":"M. El-Rayess","doi":"10.1080/09574042.2022.2129560","DOIUrl":"https://doi.org/10.1080/09574042.2022.2129560","url":null,"abstract":"As I sit at my laptop in my kitchen-cum-dining-room-cum-study, the room in which, since the start of the Covid pandemic, I have spent most of my time, working, cooking, doing the online shop, and, for a hair-raising period, home-schooling, I have two persistent parallel daydreams. One is about getting back to the grand open spaces of the British Library and its generous, solid, leather-covered desks; the other features an afternoon on the King’s Road, High Street Kensington, Oxford Street, Regent’s Street, Long Acre, or Carnaby Street, wandering from shop to shop, just looking, or trying on the things that catch my eye, judging the quality, cut and hue of garments by the look and feel of them rather than hoping for the best online. Now that shops and libraries have well and truly reopened, these pleasures are within my reach, but I seem to have lost the habit. Rachel Bowlby’s latest book, Back to the Shops: The High Street in History and the Future (Oxford UP, 2022), offers an excellent antidote to this stagnant state. Focusing mainly on the UK over the last two hundred years, Bowlby’s thirty-two short chapters, each celebrating a different aspect of shops, shopping or selling from pedlars to local shops to shopping centres, credit and credibility to customer loyalty, butchers to umbrella shops, demonstrate that these are not things to ‘lose or let go of’; they are vital to our communities, and to the futures of our towns and cities. There is no one better placed to make this case than the author of the ground-breaking Just Looking: Consumer Culture in Dreiser, Gissing and Zola (1985), as well as Shopping with Freud (1993) and Carried Away: The Invention of Modern Shopping (2001). One advantage of the broad historical sweep of Bowlby’s study is that it allows her to trace the continuities and crossovers between seemingly distinct periods of shopping history. Practices perceived as quintessentially Rachel Bowlby, Back to the Shops: The High Street in History and the Future, Oxford University Press, 2022, 288 pp, £14.99 hardback, ISBN 9780198815914","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"1 1","pages":"439 - 443"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82202038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Protest, Memory and Selfhood","authors":"H. Glew","doi":"10.1080/09574042.2022.2129565","DOIUrl":"https://doi.org/10.1080/09574042.2022.2129565","url":null,"abstract":"This is a well-crafted, important and much-needed addition to the scholarship on women, work and protest in the second half of the twentieth century. Focused around several case studies—the Ford machinists’ strikes in 1968 and 1985, the Trico-Folberth strike in 1976 and the occupation of Sexton’s in Fakenham in 1972—this book is a significant addition to the histories of trade unionism, feminism, women’s agency, class politics and activism. The book is built around oral history interviews with women who participated in the strikes, as well as research in trade union, newspaper and local archives. Moss is candid about the fact that he was unable to secure interviews with women from minoritised ethnic backgrounds and acknowledges that an intersectional analysis which fully investigates how ‘race’ affected the strikers’ experiences and treatment is therefore not possible. A significant number of the oral histories were conducted by the author in the early 2010s and these are supplemented by archived oral histories conducted by previous scholars. The effect of these layers of oral history is a rich and often nuanced account of how the participants’ own feelings about the strikes have changed, or not, over the course of recent years. This is particularly demonstrated to good effect in the two tranches of interviews with the Dagenham strikers of 1968, one set of which were conducted in 2006 and another by the author in 2013. The two sets of interviews fall before and after the release and public reaction to the film Made in Dagenham (2010). Moss is able to trace the ways in which the women’s own reactions to their experiences of the strike have mutated, or not, since the release of the film and the prominence it gave to the strike. Moss reflects, too, on how the lesser-known second Dagenham strike was in many ways the completion of the endeavour behind the first one—that is, it brought about the regrading of female machinists, who had been placed on a demonstrably too-low grade because their Jonathan Moss, Women, Workplace Protest and Political Identity in England, 1968-1985, Manchester University Press, 2019, pp. v-197, £18.94 paperback, ISBN 978-1-5261-6043-0","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"52 1","pages":"449 - 451"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78977777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reconsidering the Visual Sphere of Femininity in Tehran","authors":"Negar Zojaji","doi":"10.1080/09574042.2023.2177378","DOIUrl":"https://doi.org/10.1080/09574042.2023.2177378","url":null,"abstract":"Abstract A large proportion of the designed visual sphere of Tehran consists of murals. One noteworthy feature in the evolution of these murals that has been little investigated is the portrayal of women. This article explores women’s reception of and preferences about the visual sphere of femininity in Tehran. It draws on the analysis of both officially commissioned and unsanctioned visual representations of women in the city to offer a new understanding of the development of urban policies of gender empowerment, employing subjective methods of inquiry. The working hypothesis that guides this research is that spatial practices represent and appropriate the space in which they occur. The findings suggest that unsanctioned urban artistic practices in Tehran represent subjective aspirations for more egalitarian gender relations in their society. Moreover, the findings indicate a collective preference among female Tehraners for a visual sphere that shows an empowered image of women.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"34 1","pages":"355 - 379"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89575759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Transculturalism, Transformation and the Visual Arts in Contemporary British Women’s Poetry","authors":"Antony Huen","doi":"10.1080/09574042.2023.2183623","DOIUrl":"https://doi.org/10.1080/09574042.2023.2183623","url":null,"abstract":"Abstract This article establishes the works of women poets in the UK, especially those of non-white and mixed-race ancestries, as major players in poetic ekphrasis. Ekphrasis has been defined as ‘the verbal representation of a visual representation’ (Heffernan 3). Building on the critical studies of the ekphrases by twentieth-century women poets, this article recognizes the increasingly multicultural landscape of contemporary British ekphrastic poetry and engages in detailed studies of the ekphrastic poems from Grace Nichols’s Picasso, I Want My Face Back (2009) and Pascale Petit’s What the Water Gave Me: Poems after Frida Kahlo (2010). The two case studies demonstrate how women poets of non-white and mixed-race ancestries return to engaging with art from a diasporic perspective or art from a foreign culture and to exploring the potential and limits of art as a life-, self- and trauma-transmuting agent. The article simultaneously reveals the diverse purposes of ekphrasis in contemporary poetry, as seen in the ekphrastic practices of Nichols, Petit and other women poets.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"35 1","pages":"414 - 431"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90704370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women Poetry Prize","authors":"","doi":"10.1080/09574042.2022.2195766","DOIUrl":"https://doi.org/10.1080/09574042.2022.2195766","url":null,"abstract":"","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"28 1","pages":"394 - 394"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90820453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"About Our Contributors","authors":"","doi":"10.1080/09574042.2022.2104330","DOIUrl":"https://doi.org/10.1080/09574042.2022.2104330","url":null,"abstract":"Published in Women: a cultural review (Vol. 33, No. 2, 2022)","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"56 3-4","pages":""},"PeriodicalIF":1.1,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138509640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}