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- Peat, Alexandra
(författare)
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'A Word to Start an Argument with' : Virginia Woolf' s Crafts manship
- 2021
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Ingår i: Women - A Cultural Review. - : Taylor & Francis. - 0957-4042 .- 1470-1367. ; 32:1, s. 32-51
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Tidskriftsartikel (refereegranskat)abstract
- This paper explores Virginia Woolf's 1937 radio broadcast (and later essay) 'Craftsmanship' in the context of craft culture. As Woolf considers the word judiciously and playfully throughout 'Craftsmanship', it becomes a nexus point for an entanglement of ideas around making, creating, and producing. This paper places Woolf's understanding of craft practices in the context of contemporary debates regarding the legacy of the arts and crafts movement, Roger Fry's work in the Omega Workshops, and her own experience in the Hogarth Press. While it is tempting to see the Hogarth Press as a model of craft culture, Woolf was sceptical about any nostalgia for craft practices, often rather sloppy with the craft of book making, and deeply ambivalent about any valorization of craft. Without dismissing the significant place of the Hogarth Press in discussions about craft culture, this paper is most interested in Woolf's repeated use of 'craft' to talk about the work of the writer. It explores Woolf's own ambivalent engagement with writing as 'craft' and questions what it might mean to see Woolf as a craftswoman. It pays attention to her suspicion of privileging 'well made' writing over imagination and emotion, her attitudes towards the professionalism of craft (particularly in the context of gender), as well as the often permeable boundaries between her 'craft' and her 'art'. For Woolf, the troublesome word 'craft' leads to, associates with, and intersects with concepts central to her life and work, including art, imagination, inspiration, production, process, amateurism, professionalism, education, skill, and vocation.
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- Środa, Magdalena, et al.
(författare)
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A Quest for Feminist Space and Time
- 2014
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Ingår i: Women - A Cultural Review. - : Routledge. - 0957-4042 .- 1470-1367. ; 25:1, s. 114-122
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Tidskriftsartikel (refereegranskat)abstract
- This article offers an investigation of practical and political aspects of new materialism on the basis of texts accepted for publication in Women: A Cultural Review. The authors emphasize various political strategies that appear in the collected essays; above all they stress the practical aspects of theory itself. Theory as praxis is a concept inspired by contemporary philosophers such as Georges Canguilhem, Gilles Deleuze, Michel Foucault and Donna Haraway. It can also be the basis for a politics of location and it highlights the importance of being situated in specific sociocultural, historical, local and geographical contexts. The authors raised the question of the potential alliances between their specific, Polish context and the possibility of participating in and creating a broader feminist movement, which proves to be possible thanks to a variety of perspectives that are considered important and worth considering in new materialism. In the article, the Polish Kongres Kobiet (‘Women's Congress’) initiative is presented as a platform for feminist activity which combines various kinds of political, social and cultural interests, concerns and goals. Along with the importance of space for feminist politics, the authors consider time as a crucial constituent of feminist activism. Both rethinking the past—tradition, heritage, history—and directing reflection towards the future hopes, possibilities, politics and theories, constitute important characteristics of the new materialism approach. The authors conclude by introducing the notion of the ‘politics of squatting’, which serves as a metaphor for a feminist quest for space and time.
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- Zojaji, Negar
(författare)
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Reconsidering the visual sphere of femininity in Tehran
- 2022
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Ingår i: Women - A Cultural Review. - : Routledge. - 0957-4042 .- 1470-1367. ; 33:4, s. 355-379
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Tidskriftsartikel (refereegranskat)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.
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- Åström, Berit, 1969-
(författare)
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Post-feminist fatherhood and the marginalization of the mother in Cormac McCarthy's the road
- 2018
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Ingår i: Women - A Cultural Review. - Abingdon : Routledge. - 0957-4042 .- 1470-1367. ; 29:1, s. 112-128
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Tidskriftsartikel (refereegranskat)abstract
- Critics have tended to dismiss feminist analyses of Cormac McCarthy's works as misguided, labelling investigations of potential narrative misogyny in his novels as irrelevant. In this article, the author argues that such investigations are, on the contrary, highly relevant in the current climate of mother-blaming. The author specifically explains how McCarthy’s 2006 dystopian novel The Road uses post-feminist fatherhood to valorize the father and vilify the mother, thus participating in a continuing cultural trend of privileging fathers over mothers. The Road invokes traditional cultural expectations of motherhood and fatherhood, presenting the mother as unable and unwilling to care for the boy, in stark contrast to the very competent and able father. Many literary analyses of this highly acclaimed novel have unquestioningly accepted the post-feminist marginalization of the mother, and critics have elaborated on and developed the mother-blaming in the novel in a move that the author terms ‘critical co-writing’. Critical co-writing occurs when critics ally themselves with an author, rather than retaining a critical distance, and represent the author's ideas without problematizing them. In the case of The Road, many critics build on post-feminist cues in the novel, adding their own, unreflected, understandings of motherhood and fatherhood. In so doing, they reinterpret and rewrite the novel into an even more forceful presentation of flawed mothering. In a critical discussion of these readings, the author demonstrates how these critics transform the novel's implicit criticism of the mother character into explicit condemnation.
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