This article analyses Mary Kelly’s Love Songs, 2005—07, which was exhibited in 2007 at Documenta 12. The series of artworks addresses the political and ideological legacies of early Anglo-US feminism through the perspectives of two generations of women. Drawing on oral and photographic archives, as well as historical re-enactments, Kelly indicates how her work does not simply record a feminist legacy but, rather, keenly intervenes in the process. I propose that this intervention is an ethical one. Drawing on Luce Irigaray’s (...) writings on the maternal gift, I demonstrate how Kelly’s project may be understood to enact an ethical relationality that I find is fundamental for thinking about the vexing issue of feminist intergenerationality. I conclude that while Love Songs maps no specific course of action, nor indicates exactly why or how a current generation of feminists should proceed, it nonetheless generates a space in which to imagine the radical futurity of the maternal gift. (shrink)

How religious or spiritual are feminists today? Filling a gap in the literature on feminism and religion, this article outlines findings from the first survey-based study of feminists’ spiritual attitudes in recent years. Drawing on survey data, this article explores the religious and spiritual views of 1,265 third-wave feminists, most of whom are women in their twenties and thirties. Comparison with surveys of religious adherence in the UK reveals that these feminists are significantly less religious and somewhat more spiritual than (...) the general population. The article goes on to ask why this might be, and suggests three explanations: feminism's alignment with secularism, secularization and feminism's role within it, and feminism's association with alternative spiritualities. (shrink)

Since the start of the new millennium in the UK, a range of new feminist activities – national networks, issue-specific campaigns, local groups, festivals, magazines and blogs – have been formed by a new constituency of mostly younger women and men. These new feminist activities, which we term ‘third-wave’ feminism, have emerged in a ‘post-feminist’ context, in which feminism is considered dead or unnecessary, and where younger feminists, if represented at all, are often dismissed as insufficiently political. Representations of North (...) American third-wave feminism are brought into play in these criticisms of the UK third wave, and insufficient attention has been paid to the distinctiveness of the UK contexts. Drawing on data from a survey of 1265 people involved in post-2000 forms of feminism and semi-structured interviews with thirty feminist activists, the article sketches out the contours of the contemporary feminist movement and its activists, activism and priorities. It attends to differences and similarities between second and third waves, and situates contemporary UK feminism in its distinctive UK context. Arguing that feminism is both alive and relevant for significant numbers of people in the UK today, the article interrogates younger feminists’ reluctance to use the term ‘third-wave feminism’ to describe themselves, attributing this reluctance to ambivalent and cynical representations of the third wave in academic literature and the popular media. (shrink)

This article focuses on the affective potential of anticipation, in its ready endorsement of the unknown, as a formative lens for theorising feminist temporalities. I draw from earlier readings of Luce Irigaray’s conceptual paradigm of sexual difference to examine how its articulation of a feminist future that is inherently unknowable might contribute to recent debates on the temporalities of feminist thought. The article presents two broadly intersecting lines of argument. I first emphasise the continued centrality of sexual difference in its (...) anticipatory imperative for thinking feminism but – or perhaps, especially – through a contradictory retrieval of the term that re-narrates its contemporary significance. In other words, it is precisely the retroactive position that sexual difference occupies that exacts a critical reorientation of existing modes of feminist temporalities; it moreover does so as a theoretical construct that altogether circumvents our understanding of feminism as a progress narrative. Secondly, I build upon Drucilla Cornell’s contentions in Beyond Accommodation that the unknown futurity inaugurated by the trajectories of sexual difference demands a dimension of inquiry that is inevitably aesthetic (1991). I identify a possibility of literature’s reinvigoration in emergence narratives of feminist theorising, particularly in a certain ethical capacity precipitated by its affective experience of enchantment, which mirrors the ‘wonder’ that sexual difference incites. If we are to continue to use literature as a conducive space of feminist analysis, then it is the forward-looking perpetuation of feminist narratives that must also be rethought for their investment in the multiple contingencies of anticipation. (shrink)

Although nostalgia is a much-maligned orientation to the world, feminist scholars including Heather Hillsburg (2013) and Kate Eichhorn (2015) have argued that it might be recuperated for feminist ends. This article mobilises the call to rethink nostalgia through an analysis of the feminist stories and storytelling in Joan Braderman’s 2009 film, The Heretics. A documentary about a feminist collective founded in New York City in the 1970s, The Heretics sets up a way of thinking about feminism’s past that is steeped (...) in nostalgia. Throughout the film, Braderman maintains that the 1970s were ‘a time when everything seemed possible’. By contrast, she assesses the moment in which she makes the film as a time in which ‘fear corrodes even the young’. As feminist viewers of the film who did not (indeed by virtue of age could not) experience feminism in the 1970s, we initially read the nostalgic narrative of loss framing the film with suspicion. By drawing on feminist scholarship on nostalgia and feminist storytelling, however, we argue that nostalgia can function in what Eve Kosofsky Sedgwick (2003) would call a reparative mode that enriches the relationships that feminist scholars, activists and cultural workers bear to feminisms’ pasts. (shrink)