Women-A Cultural Review最新文献

{"title":"In the Studio with Paula Rego: An Interview with Anthony Rudolf, Poet, Translator and Artist's Model","authors":"D. Rees-Jones","doi":"10.1080/09574042.2022.2083815","DOIUrl":"https://doi.org/10.1080/09574042.2022.2083815","url":null,"abstract":"Abstract During the more than half a century since his earliest appearances in print, Anthony Rudolf has published many works in prose and verse, and also translated (and co-translated) books, mainly poetry, from the French and other languages. As a literary essayist, he has written on authors as diverse as Balzac, Byron, Borges and George Oppen, as well as several essays on Primo Levi and Yves Bonnefoy. He has also written on the work of visual artists, including Paula Rego, R. B. Kitaj, Vilhelm Hammershøi, Charlotte Salomon and Fermin Rocker, and younger artists including Haidee Becker, Jane Joseph, Jane Bustin, Arturo di Stephano, Paul Coldwell and Charlotte Hodes. In addition, he is a reviewer and obituarist and has contributed to Radio Three, Radio Four and—in English, French and Russian—the BBC World Service. Born in London in 1942, he still lives in the north-west of the city. His books include Jerzyk (2017), a study of the diary of his second cousin, the youngest known suicide of the Holocaust; Silent Conversations (2013) (a book on his reading); and European Hours (collected poems, 2017), whose eponymous prologue is a prose poem about places visited with Paula over the years.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"10 1","pages":"225 - 239"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76393061","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":"Archiving Donna Stein","authors":"S. G. Scheiwiller","doi":"10.1080/09574042.2022.2072624","DOIUrl":"https://doi.org/10.1080/09574042.2022.2072624","url":null,"abstract":"Donna Stein’s memoir The Empress and I is a tale of two women who crossed paths and became united in a vision to make the Tehran Museum of Contemporary Art (TMoCA, est. 1977) one of the most prominent collections of Modern Art in the world. The former queen and empress, Farah Diba Pahlavi (b. 1938), had a dream of establishing a global institution that fostered dialogue between modernist artists in Iran (then Persia) and in the Global North, as well as a new space of literacy and learning for the population en masse. The empress sought to enliven the local modern art scene while simultaneously engaging Iran in an international, intercultural exchange with some of the world’s most famous modern artists. Stein was asked to help with this vision because of her training and expertise in the art world in New York City; she would later take this professional skillset to Tehran to assist directly with the collections and protocols, alongside other important figures of TMoCA’s establishment, such as the architect and artist Kamran Diba (b. 1937). Stein’s book is filled with meticulous details and primary documents from the 1970s about her involvement in facilitating, advising, and building the collections of TMoCA, primarily the works on paper. More than 40 years later, letter excerpts, contracts, ledgers, and communiqués detail the many negotiations, processes, and persons involved in various transactions in New York City and Tehran that were all a part of TMoCA’s success as a major world institution. Stein keeps the reader’s attention by dividing the book into ten concise chapters and then by ending her own narrative with an in-depth interview with Farah Pahlavi that Stein conducted in 1990. In the memoir, Stein details how she was able to be part of this historic project. She had been part of the curatorial staff at the Museum of Modern Art in New York City and was awarded a prestigious National Endowment for the Arts Fellowship for Museum Professionals to study world fairs and their global impact on cultures. In 1973, this research eventually took Stein to Tehran, Shiraz, and Isfahan, and these magnificent cities of the world awed her—the thrilling urban setting and many museums of Tehran, the Donna Stein, The Empress and I: How an Ancient Empire Collected, Rejected and Rediscovered Modern Art, Skira 2021, £21.45 paperback, 9788857244341","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"21 1","pages":"256 - 259"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80952969","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":"Comrade Muriel","authors":"L. Roberts","doi":"10.1080/09574042.2022.2072618","DOIUrl":"https://doi.org/10.1080/09574042.2022.2072618","url":null,"abstract":"Rowena Kennedy-Epstein’s new book,Unfinished Spirit: Muriel Rukeyser’s Twentieth Century, is a bracing work of scholarly devotion. Reading across genres and forms, Kennedy-Epstein focuses on four thwarted projects: Rukeyser’s Spanish Civil War-era novel Savage Coast, unpublished in her lifetime; a clutch of lectures, radio talks, and essays that illuminate Rukeyser’s sexual politics; collaborative work with her lover, the photographer Berenice Abbott; and a biography of the anthropologist Franz Boas. In each case, Kennedy-Epstein traces Rukeyser’s resourceful struggle against ‘the sexism of editors, the withdrawal of publishing contracts, political censure [and] derision’ (7). The result of ten years of archival work, almost every page bristles with evidence drawn from letters, unpublished interviews, and marginalia. This material isn’t brandished as a trophy but woven into the argument of the book, which shows us that what doesn’t come to fruition isn’t simply waste, and that ‘waste’ is itself a highly ideological concept. Alongside plenty of original readings and fresh interpretation, Kennedy-Epstein manages the uncanny trick of presenting us with Rukeyser at work, thinking and feeling her way through the catastrophes of her epoch. The first part of the book – three taut chapters – is organized around Rukeyser’s experiences in Spain, where she travelled in 1936 for the opening of the antifascist People’s Olympiad. Dedicated readers of Rukeyser will be aware of some of this terrain already, thanks in part to KennedyEpstein’s own editorial work. Her edition of Savage Coast appeared in 2013 with the Feminist Press, and helped to introduce Rukeyser’s writing to a new generation of activists and poets. This recovery work originated in the activities of the CUNY Poetics Document Initiative, Lost & Found, which has been an inspiration for anyone working on experimental poetry in the long aftermath of the financial crisis. Kennedy-Epstein’s contribution to the series, Barcelona, 1936: Selections from Muriel Rukeyser’s Spanish Civil War Archive (2011), joined work by other scholars on Diane Di Prima, Margaret Randall, John Wieners, Jean Sénac, June Rowena KennedyEpstein, Unfinished Spirit: Muriel Rukeyser’s Twentieth Century, Cornell University Press, 2022, 224 pp., 13 illustrations, 9781501762338","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"70 1","pages":"240 - 243"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89537420","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":"Daring to Hope and Daring to Disrupt: Rowbotham Revisits the 1970s","authors":"Sarah Crook","doi":"10.1080/09574042.2022.2072617","DOIUrl":"https://doi.org/10.1080/09574042.2022.2072617","url":null,"abstract":"When several hundred women gathered at Ruskin College, Oxford, on a chilly February day in 1970, they did so in clothes familiar to the era: ‘scraggy fur coats’, ‘maxi-length coats... acquired in Army and Navy surplus stores’, and ‘long flowing sixties scarves and hair too’ (17-18). What the women came to discuss and challenge was less familiar, however. Talks were given on women’s relationship to work, class, capitalism, and the home and family. Both the factory floor and the kitchen sink were discussed as sites where politics was enacted: at this first Women’s Liberation Conference, a ‘new politics was being expressed through women’s daily experiences’ (20). Sheila Rowbotham was one of those who spoke at the conference, drawing upon the research she had been doing for her book Women, Resistance and Revolution (1972) to talk on ‘The Myth of Inactivity’. No one could accuse Rowbotham of being inactive. A key member of the Women’s Liberation Movement, Rowbotham is an important scholar of women’s history as well as a crucial voice on the movement itself. This, her most recent book, builds upon her earlier memoir Promise of a Dream: Remembering the Sixties (2000). Progressing chronologically, Daring to Hope maps a personal journey through the 1970s. Daring to Hope starts in January 1970, picking up not with an analysis of the state of feminism but with a new and romantic connection with David Widgery, a member of the International Socialism group. It threads the intimate and personal – the loves, the betrayals, the friendships, motherhood – with the labour of working for social change across the 1970s. This work took a variety of forms: conferences, meetings (lots of meetings), Sheila Rowbotham, Daring to Hope: My Life in the 1970s, London and New York, Verso, 2021, ISBN 978-1-83976-389-2","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"8 1","pages":"253 - 255"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74052112","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":"All Body? Transformation, Generic Codes and Embodied Memory in Karyn Kusama’s Destroyer (2018)","authors":"S. Thornham","doi":"10.1080/09574042.2022.2072615","DOIUrl":"https://doi.org/10.1080/09574042.2022.2072615","url":null,"abstract":"Abstract Karyn Kusama’s Destroyer (2018) was reviewed as a neo-noir re-working and a star vehicle for Nicole Kidman. This article argues that it in fact offers a complex re-visioning of both the noir narrative to which reviewers compared it, and the ‘woman’s film’ and its successor, the maternal revenge film. It examines the ways in which Kusama’s film plays on cinematic genre codes and structures to suggest that they constitute a ‘compulsion to repeat’, in which femininity as performance is scripted, defined and positioned, and, where it threatens transgression, rendered abject as bodily excess. The film’s flashback structure, it argues, first exposes the various scripts through which its protagonist Erin’s younger self performs the roles she is given, and then stages the recovery of embodied memory, as generic codes and structures give way to the phenomenology of the process of remembering. Through its construction of a memory text in which time is fractured and/or slowed in moments of intensity, the film works against conventional accounts of subjectivity to suggest that Erin’s recovery of memory is also a recovery of a specifically maternal body. It thus stages an attempt to retrieve, or construct, a subjectivity that is embodied, relational, and maternal.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"34 1","pages":"205 - 224"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77056311","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":"‘What a Hellish Business’: Exploring the Theme of Infant Feeding in the Works of Virginia Woolf","authors":"Charlotte Taylor Suppé","doi":"10.1080/09574042.2022.2072614","DOIUrl":"https://doi.org/10.1080/09574042.2022.2072614","url":null,"abstract":"Abstract Although Virginia Woolf’s interest in the social and political participation of women has garnered decades of critical consideration, there has been limited attention to the historical relevance of maternal themes in her works. This article begins to address this gap by offering an analysis of Woolf’s writing on infant feeding, a trope which emerges in her very earliest fiction and continues throughout her canon. During Woolf’s lifetime maternal discourses were rooted in changes in employment, social structure, politics, philanthropy and science. Her writing on maternity is especially valuable not only because of her response to these contemporary events—the trope of infant feeding, for example, offers another critical approach to her thoughts on class—but also due to the deeply personal aspect of the subject. Exploring a variety of ways Woolf engaged with infant feeding, the author here considers how such a theme offers a fresh perspective on Woolf’s feminism, social engagement and feelings about creating art.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"25 1","pages":"183 - 204"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86072152","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":"Elders: The Long Journey Home","authors":"M. Jacobus","doi":"10.1080/09574042.2022.2101750","DOIUrl":"https://doi.org/10.1080/09574042.2022.2101750","url":null,"abstract":"Abstract The term ‘elders’ has been used to refer to those who might once have been called ‘seniors’, ‘retirees’ or ‘OAPs’ (Old Age Pensioners). The Middle English eldre—connoting wisdom and experience—signals a discomfort-zone. ‘Elders’ are us, embarked on an unknowable end-of-life journey. Similarly, ‘elder-speak’ designates an artificial manner of speaking (reduced speed, simplified vocabulary, exaggerated diction), implying that those of advanced years have limited cognition and linguistic competence. The memory- and language-losses of later years challenge literary and visual representation. We risk becoming ventriloquists, eavesdroppers, or voyeurs in our efforts to accompany the old on their last journey. Listening with ‘the third ear’ (Theodor Reik’s term, borrowed from Nietzsche)—or seeing with the third eye—potentially allows for a non-intrusive mode of understanding the old, and also ourselves. Women are often care-partners. But sometimes they are the ones cared for—part of an aging couple. My three examples will be Kazuo Ishiguro’s novel, The Buried Giant (2015); later life seen through the lens of contemporary British Object Relations psychoanalysis; and Paddy Summerfield’s photographic essay about his elderly parents, Mother and Father (2014). Read together, they underline the role of aesthetics in understanding the meanings and losses of old age.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"32 1","pages":"159 - 182"},"PeriodicalIF":1.1,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87430174","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":"Close/Reading","authors":"Abbie Garrington","doi":"10.1080/09574042.2022.2021026","DOIUrl":"https://doi.org/10.1080/09574042.2022.2021026","url":null,"abstract":"Lauren Berlant writes of intimacy as a kind of intimation (promise; expectation; agreement), and as having, therefore, the quality of a pact. That pact links to the matter of bringing-close that is at the heart of Elsa Högberg’s edited collection Modernist Intimacies—creating intimate proximity between people; between person and text; or between person and person, as mediated by text. Such closeness has its emotional aspects, but is also about specifically bodily proximity (or, in the case of text, its imagined or projected equivalents), bringing the tactile into view, adding tact to pact. The late, lamented Berlant operates as a presiding spirit for this group of 12 essays, although she is more often glancingly acknowledged than fully deployed, with the exception of Högberg’s own valuable chapter on Nathanael West’s Miss Lonelyhearts (1933). Here, Högberg uses both Berlant’s ‘cruel optimism’ and Eva Illouz’s ‘cold intimacies’ to read West as offering an exploration of emotional solace (via the advice column indicated by his title) as not just cover for but obstruction to the collapse of material inequality and the pursuit of a happy life. Högberg deftly situates her own arguments amongst extant West criticism, and draws a thread from the US inter-war advice industry toward modernity’s cold intimacies, suggesting that in the present day, too, intimacy and compassion have political dimensions that may pull them clear of care. Our Covid-affected times are marked by the apparent absence of new intimacies, yet shaped by public regulations and discourses that recalibrate regimes of the intimate, including those previously, precariously considered private. As a result, this collection, while its focus is on the early years of the twentieth-century and for the most part on artistic production considered ‘modernist,’ can also be read as excavating the pre-history of today’s formulations of our intimate lives. Högberg’s ‘Acknowledgements’make reference to the joy of compiling and editing the collection, and some of that joy can surely be attributed to the first chapter, from Axel Englund, on the seep of Wagner’s music into the intimate spaces of the bourgeois home—both cover for and prompt to Elsa Högberg, ed., Modernist Intimacies, Edinburgh University Press, 2021, £75 hardback 9781474441834","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"13 1","pages":"142 - 145"},"PeriodicalIF":1.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78517504","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":"(Re)turning to Quin: An Introduction","authors":"Nonia Williams","doi":"10.1080/09574042.2022.2019437","DOIUrl":"https://doi.org/10.1080/09574042.2022.2019437","url":null,"abstract":"Abstract Ann Quin’s innovative, versatile oeuvre made a substantial contribution to 1960s and 1970s British avant-garde and experimental writing, but literary scholarship has, until recently, been slow to appreciate the brilliance and importance of her work. This special issue of Women: a cultural review is the first collection of its kind focused solely on Quin. To frame the collection, I offer a short introduction to Quin’s work and life, and discuss how her working-class identity has been considered a significant factor in relation to the distinctive forms, language, aesthetics and experimentation of her writing. I introduce the volume’s contributions, which include an interview, a creative-critical piece, and four critical essays on Quin, to show the correspondences, overlaps and contrasts between them. In particular, I focus on their consideration of archive materials, and the aesthetic and sensory qualities of Quin’s writing. I argue that, precisely by being read together, the contributions deepen and extend our thinking about Quin, give a sense of current critical approaches to her work, and provide a key opportunity to reflect on the significance of our impulse to return to her work today.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"3 1","pages":"2 - 17"},"PeriodicalIF":1.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82769732","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":"Ann Quin on Tape: Three’s Auralities","authors":"Adam Guy","doi":"10.1080/09574042.2022.2020011","DOIUrl":"https://doi.org/10.1080/09574042.2022.2020011","url":null,"abstract":"Abstract This article attends to the aural dimensions of Ann Quin’s Three (1966). It argues that just as high modernist texts developed symbiotically with the emergent sound technologies of the late-nineteenth and early-twentieth centuries, so might Quin’s novel be read for its engagement with the tape recorder which rose to commercial prominence after 1945. Aiming to contextualize Quin’s writing on tape, the article considers the history and prehistory of the medium, as well as its appropriation by Quin’s contemporaries in music, film, and the visual arts. Through the figure of tape, Three finds ways of valuing ambience and materiality, while resisting transactional and suspicious forms of knowledge.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"89 1","pages":"73 - 92"},"PeriodicalIF":1.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73900138","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}