By Sarah Gamble
Approachable for common readers in addition to for college students in women's stories similar classes in any respect degrees, this beneficial advisor follows the original spouse layout in combining over a dozen in-depth historical past chapters with greater than four hundred A-Z dictionary entries. The heritage chapters are written by way of significant figures within the box of feminist reviews, and contain thorough insurance of the background of feminism, in addition to vast discussions of issues corresponding to Postfeminism, males in Feminism, Feminism and New applied sciences and Feminism and Philosophy. The dictionary entries hide the most important contributors and concerns necessary to an realizing either one of feminism's roots and of the developments which are shaping its destiny. Readers will locate entries on humans equivalent to Aphra Behn, Simone de Beauvoir, Princess Diana, Courtney Love and Robert Bly, and on matters equivalent to Afro-American feminism, plastic surgery, the 'new man', prostitution, reproductive applied sciences and 'slasher' movies.
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"Anger isn't anathema in art," Jane Marcus writes, "it is a major resource of inventive strength. Rage and savage indignation sear the hearts of woman poets and feminine critics. " the variety and gear of the essays Jane Marcus amassed less than the rubric paintings and Anger clarify how penetrating a collection of literary and cultural insights feminist rage can produce.
The assortment is split into 4 elements: "Reading perform I. The Feminist Critic Reads males: Wilde, Meredith, Ibsen"; "Reading perform II. The Socialist Critic Reads Virginia Woolf'; "Writing perform. The Lupine Critic Writes a (Biased) background of Virginia Woolf Scholarship"; and "A Theoretical point of view. " The fourth part is composed completely of Marcus' influential, largely pointed out essay "Still perform, A/Wrested Alphabet: towards a Feminist Aesthetic," an inspiring and witty demand "theory" to return down off its male-defined top and trade its competitive posturing for an openness to the Woolfian "reader's wish to be enraptured through the writer":
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Extra resources for The Routledge Companion to Feminism and Postfeminism (Routledge Companions)
Most initially preferred to draw a line between the two, arguing like Sheila Rowbotham that whilst ‘women’s liberation does have strands of the older equal-rights feminism,…it is something more’: it is the product of a changed social and political context and possesses a sharper and far more radical feminist consciousness (Woman’s Consciousness, Man’s World (1973)). Whilst ‘old feminism’ was individualist and reformist, they argued, ‘women’s liberation’ was collective and revolutionary. Others, however, chose to assimilate the two, reclaiming as the first wave of ‘the most important revolution in history’ earlier feminist writing and activism.
Despite the claims of the Women’s Liberation Movement to speak for all women, ‘we knew there was a gap between our grievances and those of working-class women’. Despite the militancy of working-class women in the late 1960s, then, they, like Black women, remained largely outside the Women’s Liberation Groups and Workshops. The position of lesbian women within 1970s feminism was also a contested one. Like black women, lesbian women were active within radical feminism from its beginnings. Moreover, radical feminists recognised the pathologising function of the label ‘lesbian’ in the sexual policing of all women: ‘the final warning’, as Anne Koedt put it, ‘that you are about to leave the Territory of Womanhood altogether’.
The Rights and Wrongs of Women of 1976 was followed by the far less certain but more theoretically assured What Is Feminism? of 1986, and by Who’s Afraid of Feminism? Seeing Through the Backlash in 1997. During the thirty-year period since the beginnings of the ‘second wave’, feminism has acquired an academic voice both within and beyond Women’s Studies, but as a political identity it has fractured along lines of multiple differences between women, and both young women and high-profile media women seem to believe that ‘second wave feminism’ has dissolved into ‘postfeminism’.