In ____Bodies That Matter,__ Judith Butler further develops her distinctive theory of gender by examining the workings of power at the most "material" dimensions of sex and sexuality. Deepening the inquiries she began in _Gender_ _Trouble,_ Butler offers an original reformulation of the materiality of bodies, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain "sex" from the start, delimiting what counts as a viable sex. She offers (...) a clarification of the notion of "performativity" introduced in _Gender Trouble_ and explores the meaning of a citational politics. The text includes readings of Plato, Irigaray, Lacan, and Freud on the formation of materiality and bodily boundaries; "Paris is Burning," Nella Larsen's "Passing," and short stories by Willa Cather; along with a reconsideration of "performativity" and politics in feminist, queer, and radical democratic theory. (shrink)

In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at (...) the same time lays bare its conceptual smugness, its meta-historical naïveté. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations. (shrink)

If there actually is a third wave of feminism, it is too close to the second wave for its definition to be clear and uncontroversial, a fact which emphasizes the political nature of declaring the existence of this third wave. Through an examination of some third wave literature, a case is made for emphasizing the continuity of the second and third waves without blurring the differences between older and younger feminists.

In this brief and powerful book, Diana Fuss takes on the debate of pure essence versus social construct, engaging with the work of Luce Irigaray and Monique ...

Wikipedia: In this essay, Nochlin explores the institutional – as opposed to the individual – obstacles that have prevented women in the West from succeeding in the arts. She divides her argument into several sections, the first of which takes on the assumptions implicit in the essay's title, followed by "The Question of the Nude," "The Lady's Accomplishment," "Successes," and "Rosa Bonheur." In her introduction, she acknowledges "the recent upsurge of feminist activity" in America as a condition for her interrogation (...) of the ideological foundations of art history, while also invoking John Stuart Mill's suggestion that "we tend to accept whatever is as natural".[2] In her conclusion, she states: "I have tried to deal with one of the perennial questions used to challenge women's demand for true, rather than token, equality by examining the whole erroneous intellectual substructure upon which the question 'Why have there been no great women artists?' is based; by questioning the validity of the formulation of so-called problems in general and the 'problem' of women specifically; and then, by probing some of the limitations of the discipline of art history itself.". (shrink)

The notion of identification, especially in the discourse of feminist theory, has come sharply into focus with the interest in topics such as queer performativity, cross-dressing and racial passing. This text studies the track of the evolution of identific.

This article identifies and analyses the dominant stories that academics tell about the development of Western second wave feminist theory. Through an examination of recent production of interdisciplinary feminist and cultural theory journals, I suggest that despite a rhetorical insistence on multiple feminisms, Western feminist trajectories emerge as startlingly singular. In particular, I am critical of an insistent narrative that sees the development of feminist thought as a relentless march of progress or loss. This dominant approach oversimplifies the complex history (...) of Western feminisms, fixes writers and perspectives within a particular decade, and repeatedly (and erroneously) positions poststructuralist feminists as ‘the first’ to challenge the category ‘woman’ as the subject and object of feminist knowledge. Rather than provide a corrective history of Western feminist theory, the article interrogates the techniques through which this dominant story is secured, despite the fact that we (feminist theorists) know better. My focus, therefore, is on citation patterns, discursive framings and some of their textual, theoretical and political effects. As an alternative, I suggest a realignment of key theorists purported to provide a critical break in feminist theory with their feminist citational traces, to force a concomitant re-imagining of our historical legacy and our place within it. (shrink)

Current models for individuation in academe exacerbate generational tensions between second and third wave feminists. Feminist pedagogues must be wary of getting caught in the "vicious circle of contempt," where students are expected to compensate for a teacher's past narcissistic wounds. Instead, we must be willing to mourn the wounds we have received at the hands of a contemptuous culture and to acknowledge same-gender attachments that are disavowed in dialectical models of subject production.

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)

This article discusses the relationship between Eleanor Antin’s Carving: A Traditional Sculpture (1973) and Elizabeth Manchester’s All My Dresses With All My Shoes (2002) in terms of the differently structured temporalities of making and viewing through which the concept of femininity materializes in each work. Diachronic understandings of post-feminism, as a concept emptied of a former moment of political consciousness, are contested through my readings of artworks that call forth a complexity of tenses. The article argues that the connections and (...) tensions between the two works, which are generationally distinct in terms of the political and cultural climate of their production, require a critical apparatus that suggests the simultaneity of differently valued temporal experiences. The notion of temporal play is further explored in relation to Vanessa Beecroft’s performance and film works VB29 (1997) and VB35 (1998). Here the traces of earlier feminist strategy, in which femininity is cast in relation to loss, are reconfigured in the failure to achieve the stasis of the photographic moment. (shrink)

Third wave anti-essentialist critique has too often been used to dismiss second wave feminist projects. I examine claims that Carol Gilligan's work is "essentialist," and argue that her recent research requires this criticism be rethought. Anti-essentialist feminist method should consist in attention to the relations of power that construct accounts of gendered identity in the course of different forms of empirical enquiry, not in rejecting any general claim about women or girls.