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  1. Telling feminist stories.Clare Hemmings - 2005 - Feminist Theory 6 (2):115-139.
    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 (...)
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  • (1 other version)Why Have There Been No Great Women Artists?Linda Nochlin - 1971 - ARTnews.
    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 (...)
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  • Identification Papers.Diana Fuss - 1995 - Psychology Press.
    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.
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  • (1 other version)Why Have There Been No Great Women Artists?Linda Nochlin - 1971 - ARTnews.
    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 (...)
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  • From the Center: Feminist Essays on Women's Art.Lucy R. Lippard - 1977 - Journal of Aesthetics and Art Criticism 35 (4):492-493.
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  • Mean Spirits: The Politics of Contempt Between Feminist Generations.Madelyn Detloff - 1997 - Hypatia 12 (3):76-99.
    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.
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  • Making Waves and Drawing Lines: The Politics of Defining the Vicissitudes of Feminism.Cathryn Bailey - 1997 - Hypatia 12 (3):17-28.
    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.
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  • Essentially speaking: feminism, nature & difference.Diana Fuss - 1989 - New York: Routledge.
    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 ...
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  • The Pink Glass Swan: Selected Feminist Essays on Art.Lucy Lippard - 1997 - Journal of Aesthetics and Art Criticism 55 (1):61-62.
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  • What is a feminist theorist responsible for? Response to Rachel Torr.Clare Hemmings - 2007 - Feminist Theory 8 (1):69-76.
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  • Anti‐Essentialism in Practice: Carol Gilligan and Feminist Philosophy.Cressida J. Heyes - 1997 - Hypatia 12 (3):142-163.
    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.
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  • ‘From stone to cloud’: Mary Kelly’s Love Songs and feminist intergenerationality.Susan Richmond - 2010 - Feminist Theory 11 (1):57-78.
    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 (...)
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  • Traces of feminist art: Temporal complexity in the work of Eleanor Antin, Vanessa Beecroft and Elizabeth Manchester.Clare Johnson - 2006 - Feminist Theory 7 (3):309-331.
    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 (...)
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