Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2184614
Rocío Cobo-Piñero
Abstract This article aims to explore how Jamaican-born writer Claudia Rankine displays the ways in which, as a black woman and a first-generation migrant settled in the United States, she ‘regularly has to negotiate conscious and unconscious dismissal, erasure, disrespect, and abuse’ (Rankine [2020] Just Us: An American Conversation, New York: Penguin, p. 23). Just Us: An American Conversation is a genre-defying work that includes poems, essays, photography, visual art, posts from social media, and academic and journalistic sources that tackle the discursive constructions of whiteness in cultural and political life in the United States. In this volume, the private and the public merge through conversations with white strangers and friends at the airport and the train station, in the classroom, in the backyard, in the street and in social distancing interactions via Zoom. Berlant ([2011] Cruel Optimism, Durham: Duke UP.) writes about public spheres as ‘affect worlds’, where emotions precede rational or deliberative thought, attaching strangers to each other and defining the terms of the state-civil society relation. I also use Sara Ahmed’s idea of ‘encounter’ (2000, 2012), defined as a meeting with others that surprises and involves conflict, because it shifts the boundaries of the familiar or assumed knowledge. In this sense, Rankine creatively looks for traces of racialized and gendered experiences in encounters that involve bodies or texts, including the devastating effects of Covid-19 on marginalized black communities. The volume completes a vital trilogy that includes the hybrid book-length poems Don’t Let Me Be Lonely (2004) and Citizen (2014). This lyrical series conform what I call ‘a black poetics of affect’, shaped by intimate public encounters with racism and sexism that disrupt the fantasy of a post-racial society. Rankine’s sustained reflections on ‘the affective dimensions of Black life’ (Palmer [2017] ‘“What Feels More Than Feeling?”: Theorizing the Unthinkability of Black Affect’, Critical Ethnic Studies 3:2, pp. 31–56.) provide new and situated insights on affect theories and feminist studies.
本文旨在探讨牙买加出生的作家克劳迪娅·兰金(Claudia Rankine)作为一名黑人女性和在美国定居的第一代移民，她“经常不得不在有意识和无意识的解雇、抹杀、不尊重和虐待中进行谈判”(Rankine [2020] Just Us: An American Conversation, New York: Penguin，第23页)。《只是我们:一场美国对话》是一部体体化的作品，包括诗歌、散文、摄影、视觉艺术、社交媒体上的帖子、学术和新闻来源，探讨了美国文化和政治生活中白人的话语结构。在这个体量中，私人和公共通过与白人陌生人和朋友的对话融合在一起，在机场和火车站，在教室里，在后院，在街上，通过Zoom进行社交距离互动。Berlant ([2011] Cruel Optimism, Durham: Duke UP.)将公共领域描述为“影响世界”，其中情感先于理性或深思熟虑的思考，将陌生人彼此联系在一起，并定义了国家-公民社会关系的术语。我还使用了萨拉·艾哈迈德(Sara Ahmed)的“遭遇”概念(2000,2012)，将其定义为与他人的会面，因为它改变了熟悉或假设知识的界限，因此会带来惊喜并涉及冲突。从这个意义上说，兰金创造性地在涉及身体或文本的遭遇中寻找种族化和性别化经历的痕迹，包括Covid-19对边缘化黑人社区的破坏性影响。《别让我孤独》(2004年)和《公民》(2014年)是三部曲的最后一部。这个抒情系列符合我所说的“黑人情感诗学”，通过与种族主义和性别歧视的亲密公共接触来塑造，破坏了后种族社会的幻想。兰金对“黑人生活的情感维度”的持续思考(帕尔默[2017])“什么感觉比感觉更重要?:《黑人情感不可想象的理论化》，《批判种族研究》3:2，第31-56页)为情感理论和女权主义研究提供了新的见解。
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Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2196168
E. Delsandro
Sonita Sarker, inWomen Writing Race, Nation, and History (2022), simultaneously seeks expansiveness and particularity, and the structure of her book facilitates the success of both aims. Employing modernism generously as the literary and political context for her study of six N/native women – Cornelia Sorabji, Grazia Deledda, Zitkála-Šá, Virginia Woolf, Victoria Ocampo, and Gwendolyn Bennett – Sarker organizes each eponymous chapter into six interconnected categories – Time/History, New/ Now, Lineage, Land, Learning, Labour – that, taken together, contribute to a multi-faceted analysis of each author. The global reach of her project complements the singular presentation of each author, so that the concept of N/nativenss, the book’s orienting centre, remains dynamic, adapting to the political and cultural vectors accompanying each case study. This approach emphasizes Sarker’s commitment to portraying N/nativeness as ‘instantiated through discourses that are implicitly or explicitly racialized, classed, gendered, and sexualized’ (5). Thus, Sarker models an intersectional framework for global modernist scholars who are compelled to negotiate nationally, politically, and culturally contingent constructions of identity categories such as race, class, gender, and citizenship. Sarker’s foundational concept, N/native, anchors her analysis of each author and functions as a dynamic metric, shifting in response to the political and cultural contexts examined in each chapter. Sarker draws a distinction between Native with a capital N, which refers to ‘first in,’ and native with a lowercase n, which indicates ‘born in.’ And, as Sarker recursively addresses, both positionalities are racialized and gendered. As an example, Virginia Woolf, the subject of chapter four, is an English native. In the case of Woolf, race, particularly whiteness, safeguards her national belonging, while her gender is the means of her disenfranchisement. Woolf is unquestionably an English woman, but it is her womanhood that places her at the margins of national identity. So deeply does Woolf feel this marginalization that in Three Guineas in 1938—long after Sonita Sarker, Women Writing Race, Nation, and History: N/native, Oxford, Oxford University Press, 2022, 218 pp., £60 (hardback) ISBN: 9780192849960.
索尼塔·萨克尔在《女性写作种族、民族和历史》(2022)一书中同时寻求广泛性和特殊性，她的书的结构促进了这两个目标的成功。Sarker慷慨地将现代主义作为她研究六位北美本土女性的文学和政治背景——Cornelia Sorabji, Grazia Deledda, Zitkála-Šá， Virginia Woolf, Victoria Ocampo和Gwendolyn Bennett——将每个同名章节组织成六个相互关联的类别——时间/历史，新/现在，血统，土地，学习，劳动——这些综合起来，有助于对每位作者进行多方面的分析。她的项目的全球影响力与每位作者的独特呈现相辅相成，因此，本书的导向中心N/native的概念保持动态，适应每个案例研究的政治和文化载体。这种方法强调了Sarker的承诺，即将N/native描述为“通过隐含或明确的种族化、分类、性别化和性化的话语实例化”(5)。因此，Sarker为全球现代主义学者建立了一个交叉框架，这些学者被迫就种族、阶级、性别和公民身份等身份类别的国家、政治和文化结构进行谈判。Sarker的基本概念“N/native”支撑着她对每位作者的分析，并作为一个动态度量标准，随着每一章所考察的政治和文化背景的变化而变化。Sarker区分了大写N的Native和小写N的Native，前者表示“出生在”，后者表示“出生在”。而且，正如萨克尔递归地指出的那样，这两种地位都是种族化和性别化的。例如，第四章的主人公弗吉尼亚·伍尔夫就是一个土生土长的英国人。在伍尔夫的例子中，种族，尤其是白人，保护了她的民族归属感，而她的性别是她被剥夺公民权的手段。伍尔夫无疑是一位英国女性，但正是她的女性身份使她处于国家认同的边缘。伍尔夫如此深切地感受到这种边缘化，以至于在1938年的《三个基尼》中——比索尼塔·萨克尔晚了很久，《女性写作:种族、民族和历史》，牛津，牛津大学出版社，2022年，218页，60英镑(精装本)ISBN: 9780192849960。
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Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2184610
Julia Kuznetski, Silvia Pellicer-Ortín
Abstract This special issue aims to provide a deeper insight into cultural responses to various contemporary crises, such as migratory movements in recent history and, at the very present moment, pandemics, climate change and such other unsettling societal processes as political and economic ruptures, armed conflicts or environmental disasters. In particular, our aim is to draw attention to the way these changes have affected women’s lives and the way female writers and artists represent these processes and their consequences in diverse cultural narratives, such as fiction, poetry, experimental and autobiographical works. We explore issues related to diaspora, feminism, environmentalism, new materialism, memory and identity from a transnational and intersectional perspective, attempting to find connections among those cultural texts by women voicing some of the most relevant crises that have configured and are still re-configuring our global and local identities.
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Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2184989
Julia Kuznetski
Abstract This article draws on the intersection of the metahistorical, corporeal and material turn in contemporary cultural theory, with a focus on Emma Donoghue’s novel The Pull of the Stars (2020), incidentally written to commemorate a centenary of the Spanish flu in Britain, and suddenly appearing prophetic of the COVID-19 situation in 2020–2021, with unintentional, but poignant parallels. The methodological framework used for the article is transmodern metahistory, as well as new materialism, with its important concepts of transcorporeality (Alaimo) and intra-action (Barad). The article examines women’s (bodily) lives in 1918 Dublin as depicted in the novel, against the tempestuous political and military historical context furnishing the background for the material, temporal and discursive entanglements and shared vulnerabilities, which are the centre of the narrative. It also touches upon topical issues and processes characterizing the present-day world, such as the global COVID-19 pandemic, #MeToo and BLM movements, social injustice and intersectional feminism, as well as silenced traumatic historical phenomena, such as the cruelty and abuse of Irish and Canadian residential institutions, and the larger issue of livable lives—a crucial topic for women writers today.
{"title":"Precarious Bodies in Precarious Times: Herstorical Transcorporeality in Emma Donoghue’s The Pull of the Stars","authors":"Julia Kuznetski","doi":"10.1080/09574042.2023.2184989","DOIUrl":"https://doi.org/10.1080/09574042.2023.2184989","url":null,"abstract":"Abstract This article draws on the intersection of the metahistorical, corporeal and material turn in contemporary cultural theory, with a focus on Emma Donoghue’s novel The Pull of the Stars (2020), incidentally written to commemorate a centenary of the Spanish flu in Britain, and suddenly appearing prophetic of the COVID-19 situation in 2020–2021, with unintentional, but poignant parallels. The methodological framework used for the article is transmodern metahistory, as well as new materialism, with its important concepts of transcorporeality (Alaimo) and intra-action (Barad). The article examines women’s (bodily) lives in 1918 Dublin as depicted in the novel, against the tempestuous political and military historical context furnishing the background for the material, temporal and discursive entanglements and shared vulnerabilities, which are the centre of the narrative. It also touches upon topical issues and processes characterizing the present-day world, such as the global COVID-19 pandemic, #MeToo and BLM movements, social injustice and intersectional feminism, as well as silenced traumatic historical phenomena, such as the cruelty and abuse of Irish and Canadian residential institutions, and the larger issue of livable lives—a crucial topic for women writers today.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"9 1","pages":"100 - 117"},"PeriodicalIF":1.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74726870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2184985
Merve Sarıkaya-Şen
Abstract In this article, I discuss Diane Cook’s The New Wilderness (2020) as an eco-feminist critical dystopia that presents the precarious nature of human lives connected with the more-than-human world. The novel achieves this through Bea and Agnes’s journey from the City to the Wilderness that is mainly constructed by balancing utopian and dystopian elements and thus offering a critical look at our contemporary world under the risk of climate change. While doing this, the novel reminds readers of the interdependent relation between nature and human beings who tend to forget nature but try to meet the demands of the post-industrial capitalist world. In addition, the novel portrays Bea and Agnes as strong women who can challenge systems of power and patriarchy and present the possibility of a change that would heal the wounds of the climate crisis at least to a certain extent. At the same time, however, they need to go beyond patriarchal definitions of being a mother and a daughter by caring for their individual needs and showing their self-determination in deciding on their present and future lives. Thus, this article demonstrates that the novel presents not only a powerful warning to readers about the possible calamities of environmental degradation but also a glimpse of hope in its female characters.
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Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2184613
S. Strauss
Abstract From the 2010s the feminist movement has gained new impetus through widespread transnational activism, fierce resistance to continuing misogyny and sexual violence as well as by fresh currents in feminist thought. Thus, journalists and scholars characterize the proliferation of both grassroots activism and renewed discourses on women’s rights in the media and in academic, political and public discussions as the emergence of a fourth wave of feminism. As a highly thought-provoking literary manifestation of these renewed discourses, Bernardine Evaristo’s verse novel Girl, Woman, Other (2019) narrates the experiences of twelve (mainly) Black women in all stages of life, from young adulthood to late life. It highlights their concerns with issues of feminism, intersectionality and intergenerational relations and sets them in a historical-comparative perspective. By interweaving the experiences and memories of several generations of women and their repeated encounters with sexual harassment and gender discrimination throughout different times and places, the novel exposes the persistence of misogyny and sexism as a systemic problem. It is especially these intersectional and intergenerational perspectives that draw attention to deep-rooted structural inequalities. Thereby, and in opposition to any post-feminist stances, Evaristo’s writing gives momentum to the present, transnational feminist movement and can be considered one of the foundational literary texts of the fourth wave of feminism.
{"title":"Intersectionality and Fourth-Wave Feminism in Bernardine Evaristo’s Girl, Woman, Other","authors":"S. Strauss","doi":"10.1080/09574042.2023.2184613","DOIUrl":"https://doi.org/10.1080/09574042.2023.2184613","url":null,"abstract":"Abstract From the 2010s the feminist movement has gained new impetus through widespread transnational activism, fierce resistance to continuing misogyny and sexual violence as well as by fresh currents in feminist thought. Thus, journalists and scholars characterize the proliferation of both grassroots activism and renewed discourses on women’s rights in the media and in academic, political and public discussions as the emergence of a fourth wave of feminism. As a highly thought-provoking literary manifestation of these renewed discourses, Bernardine Evaristo’s verse novel Girl, Woman, Other (2019) narrates the experiences of twelve (mainly) Black women in all stages of life, from young adulthood to late life. It highlights their concerns with issues of feminism, intersectionality and intergenerational relations and sets them in a historical-comparative perspective. By interweaving the experiences and memories of several generations of women and their repeated encounters with sexual harassment and gender discrimination throughout different times and places, the novel exposes the persistence of misogyny and sexism as a systemic problem. It is especially these intersectional and intergenerational perspectives that draw attention to deep-rooted structural inequalities. Thereby, and in opposition to any post-feminist stances, Evaristo’s writing gives momentum to the present, transnational feminist movement and can be considered one of the foundational literary texts of the fourth wave of feminism.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"210 1","pages":"14 - 32"},"PeriodicalIF":1.1,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76120025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-03DOI: 10.1080/09574042.2023.2196171
Agnes Woolley
Mary Jacobus’s new book sets out to address a set of capacious terms—belonging, displacement, translation and migration—but its granular readings of literary and cultural texts ensures a seamless movement between the elemental conditions these concepts imply and their quotidian lived reality. On Belonging and Not Belonging brings to bear an impressive scholarship on its key problematic of belonging through reference to multiple art forms and artists; taking in poetry, fiction, autofiction/ memoir, film and photography from this century and the last. Jacobus examines the connective tissue that mediates questions of belonging through art, culture and (bio)politics but makes a quiet case for the ways we belong with, and to, literary and creative arts. The essays collected in the book offer six structuring frames through which to think the central problem of belonging, but they all draw lines of contact between the classical and the contemporary, revealing the enduring nature of Jacobus’s key ideas. The first, ‘Identity Poetics’, takes up the issue of translation by exploring how writers live and work in a different language. Indian-American writer Jhumpa Lahiri’s move to Italy also saw her publishing novels in her newly acquired language, while Ovid’s exile to Tomis is reimagined by David Malouf in his 1978 novella, An Imaginary Life. Translated to new geographical and literary contexts, these writers are prompted to examine their sense of (un)belonging through linguistic unhomeliness. Jacobus’s question is how writing and living in a foreign language affect one’s sense of self and of belonging. This is often central to the act of migration and border crossing. In the case of sanctuary seekers, as Jacques Derrida has noted, ‘the first act of violence’ on the foreigner is one of language. This is the legal language in which the request for hospitality is made (as Jacobus notes in the following essay, ‘Of Birds and Men’), but it is also the requirement to articulate oneself in another language; to translate—or carry across—the self into a new context. The threads of human migration and belonging again unspool from the classical and mythical to the contemporary in Chapter Two, which dwells Mary Jacobus, On Belonging and Not Belonging: Translation, Migration, Displacement. Princeton University Press, 2021, £22 hardback, 248 pp. ISBN: 9780691212388.
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Pub Date : 2023-02-28DOI: 10.1080/09574042.2023.2174724
Sophie Oliver
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Pub Date : 2022-12-12DOI: 10.1080/09574042.2022.2149102
Published in Women: a cultural review (Vol. 33, No. 3, 2022)
《女性:文化回顾》(第33卷第3期，2022年)
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Pub Date : 2022-10-02DOI: 10.1080/09574042.2022.2129580
S. Oliver
Revisionist narratives about women writers often feel urgent, but they have seemed especially pressing in the case of Jean Rhys. Several decades of Rhys scholarship have repositioned her transnationally, as both a Caribbean writer and a European modernist, in ways that complicate definitions of both identities. Critical and popular tendencies to read Rhys’s work as straightforwardly autobiographical have been particularly stubborn. Related to this is the sense that she must have written only from experience, rather than a broad cultural imagination. A good deal of criticism has shifted this impression, from Helen Carr’s Jean Rhys (2012) to recent work by Anna Snaith on Rhys’s musical references. The two new books reviewed here contribute to this enlarged understanding of Rhys as a sophisticated, worldly writer. Miranda Seymour’s new biography attends principally, of course, to the life. It is aligned with contemporary scholarship in seeing Rhys’s upbringing in and exile from the Dominica as central to all her work. But Seymour is careful to avoid what many have seen as Carole Angier’s mistake, in her 1990 biography, of using Rhys’s fiction to help document her life. Where Angier filled in gaps left by biographical sources with the experiences Rhys gave to her characters, especially in the early unpublished ‘Triple Sec’ (c.1924) and the so-called Left Bank fiction of the late 1920s and 1930s, Seymour is more circumspect, often explicitly distinguishing between the writer and the women she created. Challenging assumptions that in Walter Jeffries’s relationship with Anna in Voyage in the Dark (1934) we can see the beginnings of Rhys’s first serious love affair, with Lancelot Hugh Smith, Seymour suggests that ‘conventional Lancey would neither have slummed it at Southsea, nor gone shopping for ladies’ stockings’ (53). Instead, she points us to the short stories, ‘which contain far more autobiographical detail than her novels’ (53), including ‘After the Deluge’, whose narrator attends smart supper parties as an attendant to Miranda Seymour, I Used to Live Here Once: The Haunted Life of Jean Rhys, London:WilliamCollins, 2022, £25 hardback, ISBN: 9780008353254
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