This article argues that the influence of heteronormativity on the conceptualization of women and technology in feminist constructivist technology studies creates serious problems for the analysis. This research aims to understand the coproduction of gender and technology in society, but does not approach the two elements in a symmetrical fashion. Hence, ethnographic studies can only exemplify how the gender of technology producers is reflected in the technology created. Masculine gender identity is stabilized as a cause for the masculinity of a (...) technology that is shaped by social relationships. The criticism is fleshed out in a close examination of case study accounts of ethnographies among producers and users of technology. It is argued that a habitual reproduction of heteronormativity, present in the surrounding culture and in the technological communities studied, has prevented the adoption of approaches to the subject conducive to the objective of this feminist research. Acknowledging that destabilizing gender can undermine the critical thrust of feminist critique, the paper turns towards queer theory for ideas about how to produce criticism that does not rely on the stability of identity. The article closes with suggesting how a queer feminist approach could contribute to different readings of life with technology. (shrink)

Over the past few years we have witnessed a sharp resurgence in feminist activism as young women have become increasingly interested in feminist ideas as a means of making sense of their lives. This resurgence in feminist practice is evidenced by the formation of myriad groups and networks across Britain and the initiation of various feminist projects and campaigns, reported regularly and widely in local and national media. This article examines the renaissance of this new feminism through the example of (...) one of the most active and publicly visible organisations, UK Feminista. It draws on ethnographic research into young women’s feminist activism, exploring the emergence of UK Feminista as part of this new wave of feminist activism in Britain. We argue that the wave metaphor has multifarious meanings and that to understand how the political practice of a small feminist organisation contributes to the amplification of this wave of feminist activism it is helpful to draw on concepts developed within social movement theory such as cycles of protest, repertoires of action and collective identities. We show how UK Feminista mobilises young women and provides resources to existing and new feminist organisations and activist groups, commenting particularly on its use of the Internet and social media as a mobilising device. We explore the role of the Internet in young women’s engagement with feminism, the forms of activism in which they take part and the importance of feminist cultural memory to the construction of a collective feminist identity. Our analysis reveals the significant part played by a small mobilising structure, UK Feminista, in the resurgence of feminist activism in the UK. (shrink)

In this article, I argue that queer women – especially cis and trans lesbians – have more in common than contemporary fissures either allow for or acknowledge. Lesbians who recognised their queer sexuality in the 1970s have in common with trans women the shared condition of being, in the words of the 1970s radical feminist Marilyn Frye, ‘spat summarily out of reality’. We also share the experience of refusing to accept this condition. I make this argument by manoeuvring away from (...) questions of gender identity and focusing instead on gender’s ontoformativity: the astonishing, welcome and transformative fact that new social realities are brought into being by new social practices. I turn to experimental writing to explore this matter. Through this medium, the cis lesbian poet Nicole Brossard and the trans lesbian poet Trace Peterson wrote themselves into worlds, languages and social orders that refused to acknowledge their existence. Brossard was writing in 1970s Montreal, Peterson in early twenty-first-century New York, but what they have in common, indeed what radical lesbian theory from the 1970s shares with contemporary theorising by trans women, is the insight that identifying with men is expected. It is in identifying with women that we are most at risk. (shrink)

How has feminism changed in the UK since the 1960s? This was the question I set out to explore in my research on the British Women’s Liberation Movement, published as Radical Feminism: Feminist Activism in Movement (2015). I found that the motivations and aspirations of activists today were similar to those reported by feminists of the Second Wave; but the methods and tactics were more professionalized and there was less of a focus on women-only space.

Joan Scott’s ‘fantasy echo’ is deployed to analyse the trope of the mother/daughter relationship in contemporary laments about feminism’s failures, exemplified by Susan Faludi’s ‘American Electra: Feminism’s Ritual Matricide’ (2010). I demonstrate that Faludi’s primary argument – that young feminists do not respect the generations that precede them and therefore halt feminist progress – unreflectively relies upon a feminist maternal fantasy and ignores the prominent role spectacle culture plays in the circumscription of contemporary feminism. Building upon Scott’s attention to literature (...) to interrupt fantasy echoes and their inert visions of how feminism should appear, the article interprets The Portrait of a Lady (1908) through the tools of Scott’s historiography. I argue that Henry James’s novel, focused on an American ‘New Woman’, is an early account of how young women are sold fantasies of feminist freedom through spectacle culture and troubles the assumption that older women only forge benevolent relationships with younger women out of generosity. (shrink)

This article examines the ways in which 1970s French feminists who participated in the Women’s Liberation Movement (Mouvement de libération des femmes – MLF) wielded the spectre of lesbianism as an American idiosyncrasy to counteract the politicisation of lesbianism in France. It argues that the erasure of lesbian difference from the domain of French feminism was a necessary condition for making ‘woman’ an amenable subject for incorporation into the abstract unity of the French nation, wherein heterosexuality is conceived as a (...) democratic crucible where men and women harmoniously come together and differences are deemed divisive. Looking at the history of feminism from the standpoint of a lesbian perspective reveals unforeseen continuities between French ‘feminist’ and ‘anti-feminist’ genealogies insofar as they rest on common heterosexual and racial foundations. Finally, the article demonstrates that the alleged un-Frenchness ascribed to the word ‘lesbian’ in the 1970s feminist movement spectrally returned in the 1990s when the word ‘gender’ was, in its turn, deemed radically foreign to the French culture by feminist researchers. Fiercely reactionary constituencies against the legalisation of same-sex marriage have more recently taken up this rhetorical weapon against sexual and racial minorities. (shrink)

This article considers the question of feminist futurity through Marge Piercy's Woman on the Edge of Time (1976). While dominant readings of this novel have focused on its relationship to the feminist Utopian genre and feminist theory from the 1970s, this essay aims to critically reframe the novel through contemporary feminist theorising on time and futurity. Drawing on recent feminist and queer theory that suggests that the future might most productively be figured through more nuanced and renewed engagements with the (...) past, I argue that readings of Piercy's novel that frame it only through its contemporary moment obscure the novel's critique of singular, linear models of time. The novel represents the future through the themes of loss, mourning and haunting, which I argue resist a model of time that moves linearly from past to future and instead bring the past and future into complex relation with each other. In this regard, Piercy's novel is read as representing a form of feminist futurity that engages with progress in time as necessarily uneven, discontinuous and fractured, speaking to contemporary demands for a feminist futurity that might require more nuanced accounts of the past. (shrink)

This article employs the concepts of spectres and haunting to analyse Graham Swift’s Mothering Sunday: A Romance as a commentary on history and its economy of spectres. Referring to Jacques Derrida’s notions of haunting, inheritance, and time, I focus on the spectres of literary modernism and the First World War to explore the ways in which Swift’s novella questions the canonical representation of modernism and revises the conventional means of writing about the past, memory, and history. The analysis of Mothering (...) Sunday approaches the spectre as a figure of repressed otherness and a reminder of what has been excluded or silenced, so as to trace some of the ghosts that appear in the book and to underline its melancholic, spectral character. Situating Swift’s novella within the context of contemporary cultural criticism, I propose to see it as a sign of a larger cultural and critical turn, where spectres have been assimilated into the structure of the everyday and where the experience of haunting has become a major expression of the present condition. (shrink)