Pub Date : 2022-10-02DOI: 10.1080/09574042.2022.2129555
Sita Balani
In August 2013, the construction site of a police firearms training centre at Black Rock Quarry in Portishead was set ablaze. The £16 million addition to Britain’s police industrial complex was to include firing ranges, interactive target systems, fake houses (presumably to ‘practice’ raids) and an abseil training area, and would have been used by Avon and Somerset, Gloucestershire and Wiltshire police forces. The arson attack was claimed by an organization called the Informal Anarchist Federation (IAF), whose provocative communique insisted: ‘It put smiles on our faces to realise how easy it was to enter their gun club and leave a fuck you signature right in the belly of the beast.’ The fire burnt for 13 days, and required a special pump from Wales to deliver extra water to quell the flames. While there can be no doubt that the police ploughed tremendous resources into the investigation, no one was ever charged or convicted over the attack. Despite serving a tremendous economic blow to the policing regime and its rapid militarization, the impact on the political culture was extremely muted. It sparked little public conversation about the role and nature of policing, garnered minimal press attention, and even among activists deeply embedded in movements against the carceral state, it is rarely discussed. Though what was left after the fire had to be demolished, funded by the public purse as benefits were cut and women’s centres shuttered, the training centre—firing ranges and abseil ropes galore—was built and opened just two years later. The memory of this event seemed to burn out as soon as the flames were quelled. Over the last ten years, I have thought often about this event and its strange disappearance from popular or activist consciousness. Reading Abolition. Feminism. Now. I found a new language through which to make sense of that which appears to be lost or forgotten. This new collaborative effort by Angela Y. Davis, Gina Dent, Erica Meiners and Beth Angela Y. Davis, Gina Dent, Erica Meiners and Beth Richie, Abolition. Feminism. Now., Penguin, 2021, 272 pp., £10.99 paperback ISBN: 9780241543740
2013年8月，波蒂斯黑德(Portishead)黑岩采石场(Black Rock Quarry)警察枪支训练中心的建筑工地被纵火。这个耗资1600万英镑的英国警察工业综合体将包括射击场、互动目标系统、假房子(可能是为了“练习”突袭)和一个降伞训练区，并将被雅芳和萨默塞特、格洛斯特郡和威尔特郡的警察部队使用。一个名为“非正式无政府主义者联合会”(IAF)的组织声称对纵火事件负责，该组织的挑衅公报坚称:“我们意识到进入他们的枪支俱乐部是多么容易，并在野兽的肚子里留下一个“fuck you”的签名，这让我们脸上露出了笑容。”大火燃烧了13天，需要一台来自威尔士的特殊水泵来输送额外的水来扑灭火焰。毫无疑问，警方在调查中投入了大量资源，但没有人因这次袭击而受到指控或被定罪。尽管对警察制度及其迅速军事化造成了巨大的经济打击，但对政治文化的影响却微乎其微。这件事几乎没有引发公众对警察的角色和性质的讨论，也很少引起媒体的关注，甚至在那些深深投身于反对专制政府运动的活动人士中，也很少有人讨论这件事。尽管火灾后留下的东西不得不被拆除，由于福利被削减，妇女中心被关闭，公共财政提供了资金，但训练中心——射击场和大量的吊绳——仅在两年后就建成并开放了。这一事件的记忆似乎一被扑灭就消失了。在过去的十年里，我经常思考这个事件，以及它从大众或激进分子的意识中奇怪地消失。阅读废除。女权主义。现在。我找到了一种新的语言，通过它来理解那些似乎丢失或被遗忘的东西。这是安吉拉·y·戴维斯、吉娜·登特、艾丽卡·迈纳斯和贝丝·安吉拉·y·戴维斯、吉娜·登特、艾丽卡·迈纳斯和贝丝·里奇的新合作成果，废除。女权主义。现在。，企鹅出版社，2021年，272页，10.99英镑平装ISBN: 9780241543740
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Pub Date : 2022-10-02DOI: 10.1080/09574042.2023.2183627
Sarah Martin
Abstract This article examines the role of women within the culture and society of the interwar period, or, precisely, the 1930s. Through examining the crime fiction of Dorothy L Sayers and focusing specifically on Have His Carcase the figure of the female detective is shown to be inherently psychogeographic. The article, then, analyses the way in which Harriet Vane functions as a psychogeographer through her methods of detection. It goes on to argue that it is the way in which Harriet’s detection methods operate that allows the text to critique the cultural, social and physical place of women in society and culture of the 1930s. With a close examination of walking within the cultural context of the holiday space, the spaces which women inhabit during the 1930s are shown to be influential and significant in the process of successful detection.
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Pub Date : 2022-10-02DOI: 10.1080/09574042.2022.2129600
Victoria Stewart
As Alison Light points out in the introduction to this new collection of her writing, Inside History is a little reminiscent of a festschrift, though one in which the contributions are written by the subject herself. But Light notes that since 1995 she has not held a full-time academic post, and many of the essays presented here were originally written for publications aimed at a general rather than specifically academic readership. Indeed, one of the themes of Light’s work since the 1980s has been to interrogate that distinction between ‘general’ and ‘academic’ readers, not only by giving popular works of literature the kind of scrutiny that had previously largely been reserved for ‘classics’, but also by considering issues of education, class and identity in the context of life-writing. It’s worth remembering that when Light published her still hugely influential book Forever England: Femininity, Literature and Conservatism Between the Wars (1991), it would have seemed unlikely that there would be an academic conference devoted to the legacy of Daphne Du Maurier’s 1938 novel Rebecca (at the time of writing ‘Re-imagining Rebecca’ was scheduled to be held at the University of Sussex in May 2022). That the middlebrow would be a category almost as fiercely contested and debated as modernism might equally have been surprising. As Light points out, scholars in cultural studies and film were breaking ground where English would follow, and her writing consistently illustrates a determination not to be confined by traditional academic categorisations. This isn’t just a case of employing an interdisciplinary approach, or, for instance, examining Alfred Hitchcock’s 1940 film adaptation of Rebecca alongside the novel, as Light does in ‘Hitchcock’s Rebecca: A Woman’s Film?’, first published in Sight & Sound in 1996. It extends to the self-reflexive strand in Light’s work. For instance, in ‘Outside History? Stevie Smith, Women Poets and the National Voice’, which appeared in English in 1994, Light moves from a comparison between Smith and Philip Larkin in relation to the notion of ‘Englishness’ to reflect on the role of poetry as a means of inculcating Alison Light, Inside History: From Popular Fiction to Life-Writing. Edinburgh: Edinburgh University Press, 2022, x +234 pp., £85, ISBN: 9781474481557
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Pub Date : 2022-10-02DOI: 10.1080/09574042.2023.2183620
Stephanie Papa
Abstract Layli Long Soldier’s debut collection of poetry, WHEREAS, has been primarily framed as a defiant counter-discourse to the allusive 2009 federal apology to native communities, particularly her poems addressing the document directly. Little attention, however, has been given to Long Soldier’s unpredictable aesthetic choices as she translates her experience of motherhood, daughterhood, and womanhood through a subjective female lens, which equally emphasize the gravity of this unapologetic federal document. I argue that Long Soldier reinvents lyrical prose and visual poetry through what I call thought-music—the poet’s mode of accessing and translating her inner dialogue using alternative punctuation, inventive forms, and white space or ‘functional white’ [White, Orlando (2015), ‘Functional White: Crafting Space & Silence’, The Poetry Foundation, 3 November, at https://www.poetryfoundation.org/harriet/2015/11/functional-white-crafting-space-silence]. In doing so, she interrogates the body’s modes of receiving and transference, and composes ‘embodied geographies’ [Goeman, Mishuana (2013), Mark My Words: Native Women Mapping Our Nations, Minneapolis: University of Minnesota Press]; poems tethered to mental and physical intimacies as a mother and Lakȟóta language learner within her community. The poet’s punctuation, typographical architecture, and white space construct a somatic perspective, suggesting that communication is physical, contrary to the colonial rhetoric in the federal apology.
Layli Long Soldier的处女作诗集《然而》主要被认为是对2009年联邦政府对土著社区的暗指性道歉的一种挑衅的反驳，尤其是她的诗直接提到了这份文件。然而，很少有人注意到长战士通过主观的女性视角来诠释她的母亲、女儿和女性经历时不可预测的审美选择，这同样强调了这份毫无歉疚的联邦文件的严重性。我认为，“长战士”通过我称之为“思想-音乐”的方式，重新创造了抒情散文和视觉诗歌，这是诗人使用替代标点符号、创造性形式和空白或“功能性白色”来访问和翻译她内心对话的模式[white, Orlando(2015)，“功能性白色:制造空间与沉默”，诗歌基金会，11月3日，https://www.poetryfoundation.org/harriet/2015/11/functional-white-crafting-space-silence]。在这样做的过程中，她质疑身体的接收和转移模式，并组成了“具体化地理”[Goeman, Mishuana(2013)，标记我的话:土著妇女绘制我们的国家，明尼阿波利斯:明尼苏达大学出版社];作为一名母亲和Lakȟóta语言学习者，她的诗歌与精神和身体上的亲密联系在一起。诗人的标点符号、排版结构和留白构建了一种躯体视角，表明沟通是身体的，与联邦道歉中的殖民修辞相反。
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Pub Date : 2022-10-02DOI: 10.1080/09574042.2022.2129560
M. El-Rayess
As I sit at my laptop in my kitchen-cum-dining-room-cum-study, the room in which, since the start of the Covid pandemic, I have spent most of my time, working, cooking, doing the online shop, and, for a hair-raising period, home-schooling, I have two persistent parallel daydreams. One is about getting back to the grand open spaces of the British Library and its generous, solid, leather-covered desks; the other features an afternoon on the King’s Road, High Street Kensington, Oxford Street, Regent’s Street, Long Acre, or Carnaby Street, wandering from shop to shop, just looking, or trying on the things that catch my eye, judging the quality, cut and hue of garments by the look and feel of them rather than hoping for the best online. Now that shops and libraries have well and truly reopened, these pleasures are within my reach, but I seem to have lost the habit. Rachel Bowlby’s latest book, Back to the Shops: The High Street in History and the Future (Oxford UP, 2022), offers an excellent antidote to this stagnant state. Focusing mainly on the UK over the last two hundred years, Bowlby’s thirty-two short chapters, each celebrating a different aspect of shops, shopping or selling from pedlars to local shops to shopping centres, credit and credibility to customer loyalty, butchers to umbrella shops, demonstrate that these are not things to ‘lose or let go of’; they are vital to our communities, and to the futures of our towns and cities. There is no one better placed to make this case than the author of the ground-breaking Just Looking: Consumer Culture in Dreiser, Gissing and Zola (1985), as well as Shopping with Freud (1993) and Carried Away: The Invention of Modern Shopping (2001). One advantage of the broad historical sweep of Bowlby’s study is that it allows her to trace the continuities and crossovers between seemingly distinct periods of shopping history. Practices perceived as quintessentially Rachel Bowlby, Back to the Shops: The High Street in History and the Future, Oxford University Press, 2022, 288 pp, £14.99 hardback, ISBN 9780198815914
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Pub Date : 2022-10-02DOI: 10.1080/09574042.2022.2129565
H. Glew
This is a well-crafted, important and much-needed addition to the scholarship on women, work and protest in the second half of the twentieth century. Focused around several case studies—the Ford machinists’ strikes in 1968 and 1985, the Trico-Folberth strike in 1976 and the occupation of Sexton’s in Fakenham in 1972—this book is a significant addition to the histories of trade unionism, feminism, women’s agency, class politics and activism. The book is built around oral history interviews with women who participated in the strikes, as well as research in trade union, newspaper and local archives. Moss is candid about the fact that he was unable to secure interviews with women from minoritised ethnic backgrounds and acknowledges that an intersectional analysis which fully investigates how ‘race’ affected the strikers’ experiences and treatment is therefore not possible. A significant number of the oral histories were conducted by the author in the early 2010s and these are supplemented by archived oral histories conducted by previous scholars. The effect of these layers of oral history is a rich and often nuanced account of how the participants’ own feelings about the strikes have changed, or not, over the course of recent years. This is particularly demonstrated to good effect in the two tranches of interviews with the Dagenham strikers of 1968, one set of which were conducted in 2006 and another by the author in 2013. The two sets of interviews fall before and after the release and public reaction to the film Made in Dagenham (2010). Moss is able to trace the ways in which the women’s own reactions to their experiences of the strike have mutated, or not, since the release of the film and the prominence it gave to the strike. Moss reflects, too, on how the lesser-known second Dagenham strike was in many ways the completion of the endeavour behind the first one—that is, it brought about the regrading of female machinists, who had been placed on a demonstrably too-low grade because their Jonathan Moss, Women, Workplace Protest and Political Identity in England, 1968-1985, Manchester University Press, 2019, pp. v-197, £18.94 paperback, ISBN 978-1-5261-6043-0
这本书是对20世纪下半叶妇女、工作和抗议学术研究的精雕细琢、重要和急需的补充。这本书集中于几个案例研究——1968年和1985年的福特机械师罢工，1976年的Trico-Folberth罢工和1972年法肯纳姆的塞克斯顿罢工——是对工会主义、女权主义、妇女代理、阶级政治和激进主义历史的重要补充。这本书的基础是对参加罢工的妇女的口述历史采访，以及对工会、报纸和当地档案的研究。Moss坦率地承认，他无法确保采访到少数族裔背景的女性，并承认，因此不可能进行全面调查“种族”如何影响罢工者的经历和治疗的交叉分析。大量的口述历史是作者在2010年代初进行的，并辅以以前学者进行的口述历史档案。这些层层叠叠的口述历史的影响，是对参与者自己对罢工的感受在近年来如何变化或不变的丰富而微妙的描述。这在对1968年达格纳姆罢工者的两部分采访中得到了特别好的证明，其中一组是在2006年进行的，另一组是作者在2013年进行的。这两组采访分别发生在电影《达格纳姆制造》(Made in Dagenham, 2010)上映和公众反应之前和之后。莫斯能够追踪到，自电影上映以来，这些女性自己对罢工经历的反应发生了变化，或者没有发生变化。莫斯还反思了鲜为人知的第二次达格南罢工在许多方面是如何完成第一次罢工背后的努力的，也就是，它带来了女性机械师的重新定位，因为她们的乔纳森·莫斯，英国的女性，工作场所抗议和政治认同，1968-1985，曼彻斯特大学出版社，2019年，第v-197页，18.94英镑平装本，ISBN 978-1-5261-6043-0，她们被放在一个明显过低的等级
{"title":"Protest, Memory and Selfhood","authors":"H. Glew","doi":"10.1080/09574042.2022.2129565","DOIUrl":"https://doi.org/10.1080/09574042.2022.2129565","url":null,"abstract":"This is a well-crafted, important and much-needed addition to the scholarship on women, work and protest in the second half of the twentieth century. Focused around several case studies—the Ford machinists’ strikes in 1968 and 1985, the Trico-Folberth strike in 1976 and the occupation of Sexton’s in Fakenham in 1972—this book is a significant addition to the histories of trade unionism, feminism, women’s agency, class politics and activism. The book is built around oral history interviews with women who participated in the strikes, as well as research in trade union, newspaper and local archives. Moss is candid about the fact that he was unable to secure interviews with women from minoritised ethnic backgrounds and acknowledges that an intersectional analysis which fully investigates how ‘race’ affected the strikers’ experiences and treatment is therefore not possible. A significant number of the oral histories were conducted by the author in the early 2010s and these are supplemented by archived oral histories conducted by previous scholars. The effect of these layers of oral history is a rich and often nuanced account of how the participants’ own feelings about the strikes have changed, or not, over the course of recent years. This is particularly demonstrated to good effect in the two tranches of interviews with the Dagenham strikers of 1968, one set of which were conducted in 2006 and another by the author in 2013. The two sets of interviews fall before and after the release and public reaction to the film Made in Dagenham (2010). Moss is able to trace the ways in which the women’s own reactions to their experiences of the strike have mutated, or not, since the release of the film and the prominence it gave to the strike. Moss reflects, too, on how the lesser-known second Dagenham strike was in many ways the completion of the endeavour behind the first one—that is, it brought about the regrading of female machinists, who had been placed on a demonstrably too-low grade because their Jonathan Moss, Women, Workplace Protest and Political Identity in England, 1968-1985, Manchester University Press, 2019, pp. v-197, £18.94 paperback, ISBN 978-1-5261-6043-0","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"52 1","pages":"449 - 451"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78977777","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 : 2022-10-02DOI: 10.1080/09574042.2023.2177378
Negar Zojaji
Abstract A large proportion of the designed visual sphere of Tehran consists of murals. One noteworthy feature in the evolution of these murals that has been little investigated is the portrayal of women. This article explores women’s reception of and preferences about the visual sphere of femininity in Tehran. It draws on the analysis of both officially commissioned and unsanctioned visual representations of women in the city to offer a new understanding of the development of urban policies of gender empowerment, employing subjective methods of inquiry. The working hypothesis that guides this research is that spatial practices represent and appropriate the space in which they occur. The findings suggest that unsanctioned urban artistic practices in Tehran represent subjective aspirations for more egalitarian gender relations in their society. Moreover, the findings indicate a collective preference among female Tehraners for a visual sphere that shows an empowered image of women.
{"title":"Reconsidering the Visual Sphere of Femininity in Tehran","authors":"Negar Zojaji","doi":"10.1080/09574042.2023.2177378","DOIUrl":"https://doi.org/10.1080/09574042.2023.2177378","url":null,"abstract":"Abstract A large proportion of the designed visual sphere of Tehran consists of murals. One noteworthy feature in the evolution of these murals that has been little investigated is the portrayal of women. This article explores women’s reception of and preferences about the visual sphere of femininity in Tehran. It draws on the analysis of both officially commissioned and unsanctioned visual representations of women in the city to offer a new understanding of the development of urban policies of gender empowerment, employing subjective methods of inquiry. The working hypothesis that guides this research is that spatial practices represent and appropriate the space in which they occur. The findings suggest that unsanctioned urban artistic practices in Tehran represent subjective aspirations for more egalitarian gender relations in their society. Moreover, the findings indicate a collective preference among female Tehraners for a visual sphere that shows an empowered image of women.","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"34 1","pages":"355 - 379"},"PeriodicalIF":1.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89575759","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 : 2022-10-02DOI: 10.1080/09574042.2023.2183623
Antony Huen
Abstract This article establishes the works of women poets in the UK, especially those of non-white and mixed-race ancestries, as major players in poetic ekphrasis. Ekphrasis has been defined as ‘the verbal representation of a visual representation’ (Heffernan 3). Building on the critical studies of the ekphrases by twentieth-century women poets, this article recognizes the increasingly multicultural landscape of contemporary British ekphrastic poetry and engages in detailed studies of the ekphrastic poems from Grace Nichols’s Picasso, I Want My Face Back (2009) and Pascale Petit’s What the Water Gave Me: Poems after Frida Kahlo (2010). The two case studies demonstrate how women poets of non-white and mixed-race ancestries return to engaging with art from a diasporic perspective or art from a foreign culture and to exploring the potential and limits of art as a life-, self- and trauma-transmuting agent. The article simultaneously reveals the diverse purposes of ekphrasis in contemporary poetry, as seen in the ekphrastic practices of Nichols, Petit and other women poets.
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Pub Date : 2022-09-09DOI: 10.1080/09574042.2022.2104330
Published in Women: a cultural review (Vol. 33, No. 2, 2022)
《女性:文化回顾》(第33卷第2期，2022年)
{"title":"About Our Contributors","authors":"","doi":"10.1080/09574042.2022.2104330","DOIUrl":"https://doi.org/10.1080/09574042.2022.2104330","url":null,"abstract":"Published in Women: a cultural review (Vol. 33, No. 2, 2022)","PeriodicalId":54053,"journal":{"name":"Women-A Cultural Review","volume":"56 3-4","pages":""},"PeriodicalIF":1.1,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138509640","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}
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