This essay focuses on the repeated rhetorical moves through which the third wave autobiographical subject seeks to be real and to speak as part of a collective voice from the next feminist generation. Given that postmodernist, postructuralist, and multiculturalist critiques have shaped the form and the content of third wave expressions of the personal, the study is ultimately concerned with the possibilities and limitations of such theoretical analysis for a third wave of feminist praxis.

This paper traces the history of uses of the word “gender”. It suggests that though “gender” has been recuperated and become commonplace, many issues persist around the way “women” and “men”, and the power relations between them, are defined and are evolving. Provided it still allows us to question the meanings attached to the sexes, how they are established and in what contexts, gender remains a useful, because critical, analytical category.

In response to Dick Pels's critical remarks, this article attempts to contextualize, historically and conceptually, some of the main points of poststructuralist philosophies of subjectivity. Special emphasis is placed on outlining and defending the political relevance of the `linguistic turn', especially of the kind of interventions upon language which poststructuralism and deconstruction are so often criticized for. Throughout this article, ample cross-reference is made to feminist theory and epistemology.

This paper traces the history of uses of the word “gender”. It suggests that though “gender” has been recuperated and become commonplace, many issues persist around the way “women” and “men”, and the power relations between them, are defined and are evolving. Provided it still allows us to question the meanings attached to the sexes, how they are established and in what contexts, gender remains a useful, because critical, analytical category.

The subject of this article is Neil Jordan's film The Crying Game. Released in 1992, it was widely received as a film that challenged stereotypes in relation to both the IRA and questions of race, sexuality and desire. This article calls into question such a radical reading by analysing the way in which Jude the IRA woman is represented. Through a feminist deconstruction, the article proposes that the character of Jude can be seen to represent both national and international anxieties (...) concerning contemporary masculine and feminine subject positions. The article plots this by investigating how the film deals with the specifics of gender and Irish nationalism. It then moves on to consider how these specifics can be seen to articulate international postmodern concerns about contemporary gender identities. (shrink)

Drawing on postmodern feminist theories of culture and identity, this article explores a model of ‘masquerading’ instead of ‘assimilation’ in analysing self-constructions of migrant women of ‘mixed race’ living in the Netherlands. Rather than as assimilated objects, these migrant women, called Indo-Dutch women, are regarded as agents who effectively intervene in the construction of national identities through masquerading strategies and ways of communication. The article also shows how masquerading strategies form a part of the conflicted colonial history of Indo-Dutch women (...) and as such constitute contemporary life narratives and identities. One incident in a life narrative is used as an example to illustrate different interpretations. (shrink)