In the mid XIXth century, an illustrated intellectual minority questioned the colonial mentality of the system of Spanish domination revealing in its writings an attempt at construction of the sign of woman based on liberal, progressive and post independence ideologies. Within this minority we find the Colombian writer Soledad Acosta de Samper, whose concern for the social condition of women is revealed in her work in the image of an educated woman. Using the text La mujer en la sociedad moderna (...) [Woman in Modern Society] and the novel Una holandesa en América [A Dutch Woman in America], this article analyzes two aspects of the image of women in Acosta: that of woman as a moralizer and that of religiosity. The analysis of these two themes shows Acosta’s use of the normative discourses of the period in her project of giving woman a more important social role and they become strategies to tone down the potential for transgression of the new situation for women that she desires. (shrink)

Julie Houts has cultivated a devoted following as "Instagram's favourite illustrator" (Vogue) by lampooning the conflicting messages and images women consume and share with the world every day. A collection of darkly comic illustrated essays, Literally Me chronicles the daily exploits of "slightly antisocial heroines" (Refinery29) in vivid, excruciatingly funny detail, including: -The beauty routine of a deranged bride who aspires to be "truly without flaws" on her wedding day -What happens when Kylie Jenner has an existential crisis and can (...) no longer "step out" -A journey to Coachella by the Four Horsewomen of the Apocalypse -The true dating confessions of a fembot -The terrifying description for Alice Staunch's book How to be the Perfect Feminist -The diary of Fiddle Ficus, a tree that lives inside a CÉLINE store, and much more. Literally Me marks the launch of a brilliant new social satirist. Julie's singular voice and beautiful illustrations reveal the truth about the absurdity of life in the social media age: the line between becoming a total `Girlboss' and a 21st-century American Psycho is razor-thin."--Dust jacket. (shrink)

In early China, was it correct for a woman to disobey her father, contradict her husband, or shape the public policy of a son who ruled over a dynasty or state? According to the _Lienü zhuan_, or_ Categorized Biographies of Women_, it was not only appropriate but necessary for women to step in with wise counsel when fathers, husbands, or rulers strayed from the path of virtue. Compiled toward the end of the Former Han dynasty (202 BCE-9 CE) by Liu (...) Xiang (79-8 BCE), the _Lienü zhuan_ is the earliest extant book in the Chinese tradition solely devoted to the education of women. Far from providing a unified vision of women's roles, the text promotes a diverse and sometimes contradictory range of practices. At one extreme are exemplars resorting to suicide and self-mutilation as a means to preserve chastity and ritual orthodoxy. At the other are bold and outspoken women whose rhetorical mastery helps correct erring rulers, sons, and husbands. The text provides a fascinating overview of the representation of women's roles in early legends, formal speeches on statecraft, and highly fictionalized historical accounts during this foundational period of Chinese history. Over time, the biographies of women became a regular feature of dynastic and local histories and a vehicle for expressing and transmitting concerns about women's social, political, and domestic roles. The _Lienü zhuan_ is also rich in information about the daily life, rituals, and domestic concerns of early China. Inspired by its accounts, artists across the millennia have depicted its stories on screens, paintings, lacquer ware, murals, and stone relief sculpture, extending its reach to literate and illiterate audiences alike. (shrink)

Ever since Eve tempted Adam with her apple, women have been regarded as a corrupting and destructive force. The very idea that women can be used as interrogation tools, as evidenced in the infamous Abu Ghraib torture photos, plays on age-old fears of women as sexually threatening weapons, and therefore the literal explosion of women onto the war scene should come as no surprise. From the female soldiers involved in Abu Ghraib to Palestinian women suicide bombers, women and their bodies (...) have become powerful weapons in the Afghanistan and Iraq wars. In _Women as Weapons of War_, Kelly Oliver reveals how the media and the administration frequently use metaphors of weaponry to describe women and female sexuality and forge a deliberate link between notions of vulnerability and images of violence. Focusing specifically on the U.S. campaigns in Afghanistan and Iraq, Oliver analyzes contemporary discourse surrounding women, sex, and gender and the use of women to justify America's decision to go to war. For example, the administration's call to liberate "women of cover," suggesting a woman's right to _bare_ arms is a sign of freedom and progress. Oliver also considers what forms of cultural meaning, or lack of meaning, could cause both the guiltlessness demonstrated by female soldiers at Abu Ghraib and the profound commitment to death made by suicide bombers. She examines the pleasure taken in violence and the passion for death exhibited by these women and what kind of contexts created them. In conclusion, Oliver diagnoses our cultural fascination with sex, violence, and death and its relationship with live news coverage and embedded reporting, which naturalizes horrific events and stymies critical reflection. This process, she argues, further compromises the borders between fantasy and reality, fueling a kind of paranoid patriotism that results in extreme forms of violence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Women on the Global Market: Irigaray and the Democratic StateNicole Fermon (bio)Best known for her subtle interrogation of philosophy and psychoanalysis, Luce Irigaray clearly also conducts a dialogue with the political, proposing that women’s erasure from culture and society invalidates all economies, sexual or political. Because woman has disappeared both figuratively and literally from society [see Sen, “More Than 100 Million Women Are Missing”], Irigaray conceives the contemporary ethical (...) project as a recall to difference rather than equality, to difference between women and men—that is, sexual difference. She characterizes relations between men and women as market relations in which women are commodities, objects, but never subjects of exchange, objects to men but not to themselves: women do not belong to themselves but exist “to keep relationships among men running smoothly” [TS 192]. Women under these conditions require imaginative ways to reconfigure the self, to subvert the melancholy and regression of masculinist economies and envisage a future in which women would not be ashamed of the feminine, would experience it as a positivity worth emulating.Irigaray contends that after the gains of egalitarian politics are carefully examined, the inclusion of women in the political arena has failed to take into account women’s distinct and different position from men, and from each other, as well as perpetuating the fiction of the “neutral” citizen, the ahistorical individual citizen of the nation-state. It is that fiction Irigaray dispels in her critique of liberal democratic politics and its creation, “citizens who are neuter in regard to familial singularity, its laws, and necessary sexual difference” [SG 112] in order to benefit the State and its laws. The subject is male; the citizen is neuter. Who is the female citizen in contemporary society? What is the ethical elaboration of the contractual relations between women and men, and between sexed individuals and the community? How do women imagine a distinct set of rights and responsibilities based on self-definition and autonomy, given the particular strictures of contemporary politics—that is, the market-driven, antidemocratic nature of the current economic national and global forces? Irigaray suggests that “the return of women to collective work, to public places, to social relations, demands linguistic mutations” and profound transformations, an embodied imagination with force and agency in civil life [TD 65].Irigaray warns that if civil and political participation is construed in overly narrow terms, if focus is on economic or judicial “circuits” alone, we overlook the symbolic organization of power—women risk losing “everything without even being acknowledged” [TD 56]. Instead an interval of recognition can expand the political to include the concerns and activities of real women, lest silence imply consent to sexual neutrality, or more likely, to women’s obliteration under men’s interests and concerns. Women’s insistence on self-definition and wage labor, on love and justly remunerated work, [End Page 120] testifies to the obduracy of women’s difference, one that is not likely to disappear. The patriarchal family is still the legal norm, even when certain exceptions are made, while enduring questions regarding women’s health and children’s physical welfare as priorities beyond market considerations are consigned to legislative obfuscation, still a political afterthought. Instead, in the US the liberal state removes the slender welfare net specific to women and children, Aid to Families with Dependent Children, and fails to provide medical coverage to those who are among the most vulnerable of its citizens. Women without access to the legal protection of sex-neutral citizenship, poor working women without language (the money for an effective “mouthpiece” to represent their distress in a court of law), are further disempowered by liberal politics’ insistence on sexual neutrality—that is, on repression or amnesia regarding the lived experiences of women.Sexual difference is key to any project of self-definition by women. Irigaray insists on the sexual nature of this self-definition, not solely for its obvious procreative necessity, but because the natural world is a source of renewal and fecundity which requires attentive interrogation and respect [SG 15]. This rebirth seems alien to the structure of male politics, which instead seem to provoke disasters (Bhopal, Chernobyl, or the current runaway... (shrink)

In the study of education, as in many more travelled regions of Classical scholarship, democratic Athens is something of a special case. The cautions formulation is appropriate: in the case of education, surprisingly few studies have sought to establish quite how special Athens was, and those which have, have often raised more questions than they answered. The subject itself is partly to blame. The history of education invites comparison with the present day, while those planning the future of education rarely (...) fail to invoke the past. The place of Classical Athens in European culture has ensured a place for Athenian education in almost every debate from the relation between education and democracy to the value of educationversustraining, and as the original champion of causes as varied as mass education, co-education, and the national curriculum. Desirable as it is to be in demand, such treatment is not calculated to produce the most circumspect account of the subject. The study of education is further hampered by the fact that our knowledge of Athenian culture is so vibrant and diverse in some ways and so partial in others. Plato and Aristophanes present a vivid fictional picture of education in the late fifth century. If we add a few passages from Xenophon and Aristotle, a large number of vases depicting men, women, and children reading, playing the lyre, and doing athletics, and one or two archaeological finds of an educational appearance, it is tempting to take the result as a clear portrait of a society at school. (shrink)

The Natuurkundig Genootschap der Dames , formally established by and for women, met regularly from 1785 to 1881 and sporadically until 1887. It challenges our stereotypes both of women and the physical sciences during the eighteenth century and of the intellectual interests open to women in the early European republics. This essay aims not simply to identify the society and its members but to describe their pursuits and consider what their story adds to the history of Western science. What does (...) this society’s existence tell us about the relationship between women and early science in general and about science and society in the Dutch setting in particular? Science and gender look rather different when observed through the activities of the immensely prosperous women of Middelburg, citizens of one of the most highly literate Western countries. The elite lives of the first‐generation members of the women’s society also offer us a glimpse into the early domestication of science, a process vital to its acceptance and assimilation. (shrink)

The dramatic transformation of the Arabian Gulf since the discovery of petroleum resources has called for a new perspective on the situation of women in the region. Qatar is an example of fast-paced industrialization, modernization and profound socio-cultural changes. As the environment transforms literally from day to day, new identities are being forged and social roles renegotiated. The leadership’s vision for the country speaks of gender equality and opportunity for all. This article asks how young Qatari women’s personal stories fit (...) into the national narrative of change and what they see as the best path to agency and empowerment. (shrink)

This book introduces the special dynamics of women and their close relationships with the gift in both past and contemporary religious settings. Written from a cross-cultural perspective, it challenges depictions of women's roles in religion where they have been relegated to compliance with specifically designated gendered attributes. The different chapters contest the resultant stereotypes that deny women agency. Each chapter describes women as engaged in an aspect of religion, from that of ritual specialists, to benefactors and patrons, or even innovators. (...) The volume examines topics such as sainthood and sacrifice so as to refine these ideas in constructive ways that do not devalue women. It also examines the meaning of the term "gift" today, embracing the term in both figurative and literal ways. Such a collection of diverse women's writings and activities provides a significant contribution to their quest for recognition, and also suggests ways this can be understood and realized today. (shrink)

Nussbaum defends literacy and education for women as a crucial condition for lessening many of the problems that women face worldwide, such as abusive marriages, inadequate jobs, and poor health, which restrict women’s capacities to engage in citizenship practices. Nussbaum’s proposal extends to secondary and higher education and particularly urges the development of women’s critical faculties and imagination. At present, the commitments of poorer nations and states, as well as those of wealthy nations, their citizens, and their corporations are woefully (...) inadequate to serve women’s needs. Female education is sometimes opposed on the grounds that it destroys non-literate cultures, which have their own values; yet such cultures may harbor misery and injustice and their norms may even be opposed by the women in the cultures. Nussbaum suggests that if governments cannot improve female education, non-governmental organizations may be able to take on the responsibility. (shrink)

This book brings together the stories of biographers, novelists, scholars, and artists as they have written about the journeys (some literal, some figurative) they have made to their subjects. Contributors include Elizabeth Wood, J.J. Wilson, Leah Glasser, Jane Lazarre, and Alice Walker.

Human immunodeficiency viruses (HIV) and acquired immunodeficiency syndrome (AIDS), COVID-19 and Ebola have exposed the magnitude of care-related tasks on women. Most often, because of the gendered nature of domestic and reproductive roles, women are expected to assume unpaid care-related, nurturing and domestic work. Despite the valuable duties, women are economically poor and othered. These unpaid care duties are exacerbated by pandemics and ratified even further by religion. For instance, in Nomiya Church (NC), the first African independent church in Kenya, (...) women’s experience narratives and biblical texts such as the story of the Proverbs 31 virtuous woman are used to glorify unpaid charitable work for women. Women’s virtuous personality, hard work and character are upheld in Christian spaces, thus obstructing sound work theologies. This article employed African Women’s theological lens in view of pointing out repressing and transformative tenets in charitable theologies of work for social and gender justice. While applying womanhood hermeneutics in the passage, the article points to valued behavioural postures of hard work in responding to God’s stewardship mandate. An affirmation of fair reward and accumulation of property is embraced as a familial complementary role, especially in pandemic contexts. The article amplifies the accumulation of property as a human right and the mandate of stewardship for all earth communities. Hence, charity work is a stewardship framework that all earth communities must engage in for replenishment and sustenance for all.Contribution: The article challenges literal biblical interpretations that glorify charity work. It advances a stewardship framework in understanding unpaid and charity work that all earth communities must engage in to replenish and sustain all creation. The framework affirms the dignity of all human persons through a transformational understanding of the theology of work as enabled by the African theological hermeneutics. (shrink)

The radical Islamist regime of the Taliban affords an extensive view of the logic of Muslim fundamentalism regarding the public and private spheres. I argue that the Taliban de-privatized several life-spheres, "publicizing" religion and the body. The Taliban performed power as public spectacle, employing public executions, amputations and whippings. Religion, too, was to be completely public, as Habermas argues it was in Europe before the 18th century. As soon as they took Kabul, the Taliban insisted that all residents had to (...) say their five daily prayers, the men in mosques. Likewise, men were given six weeks to grow out their beards to a hand's length and to trim their moustaches in accordance with a literal reading of sayings about the Prophet Muhammad's appearance. The young female memoirist of life in Taliban Kabul, Latifa, reported that her middle class father complied with the new rule, but insisted, "My beard belongs to the Taliban, not to me!" The rendering public of religion made public property of every religious act. His body had a choice, of being conformed to the movements and shaping of religion, or of being tortured because of lack of compliance. This publicization of the believer's body resulted in an alienation from individuals of parts of themselves. Likewise, the gendered character of the public and private spheres, with women being confined to the private, is as visible in Taliban thinking as it is in Hegel. The expansion of the public realm of religion and morality by the Taliban had the effect of shrinking the private sphere and so constraining women further. Girls' schools were shuttered and many war widows were reduced to begging and risking sanctions for being in the street without a male guardian. Posters of Bollywood actresses were forbidden, and Kate Winslet was condemned to death in absentia for portraying a fornicator in The Titanic. It is argued that the goal of perfectly privatizing the female body lay behind these Draconian measures. (shrink)

The aim of this article is to present the collective portrait of the 40 women occupying the highest posts in the communist party and state apparatus in Poland during the Stalinist period. It focuses on the vast majority of people involved in the communist movement, while it also examines the cases of Socialists and women from the younger generation. The first part of the study presents the milieus they came from, their educational and professional careers and – above all – (...) the motivations and patterns of their political engagement. The second part engages with their position in the structures of power, as well as the circumstances of their political advances and declines. The key biographical category is that of “widowhood”, understood both literally – considering the percentage of women whose husbands were killed by Soviets or Germans – and symbolically – as a bitter disappointment with the Idea and its realization. (shrink)

This research focuses on the issue of human rights violations, particularly those affecting Muslim women in Indonesian diaspora marriages in Russia. Despite the regulations set by the Family Code of the Russian Federation, there have been reports of abuse, expulsion, withholding of documents and unilateral divorce. The purpose of this qualitative research using Smith’s phenomenological approach is to analyse the root causes of these violations and provide solutions. Data were collected through in-depth interviews, observation and documentation analysis. The results showed (...) that domestic violence was caused by a lack of self-concern and lack of cultural, legal and legal administration literacy. This lack of literation contributes to the violation of the rights of married diaspora women in Russia. Self-protection can be enhanced by increasing faith-based marriage literacy and cultural and legal literacy. Contribution: This research provides insight into the factors contributing to human rights violations in Indonesian diaspora marriages in Russia and proposes solutions to prevent such violations. The findings of this study can also serve as a basis for future research in the field of human rights and diaspora. (shrink)

In the Synoptic Gospels, women are definitely not called disciples. The term female discipleship exists only in Acts 9:36. According to the Gospel of Mark, the important aspect of discipleship is following (e.g. Mk 1:18; 2:14–15; 3:7; 5:24; 6:1; 8:34; 9:38; 10:21, 28); thus, although Mark in this case does not definitely call the women disciples, they can serve as examples of discipleship. With reference to Jesus’ approach to women, the stories in the gospel can be one of the resources, (...) they show Jesus’ ways of looking and thinking about women. Hence to understand the mission and teaching of Jesus, is to understand the gospel. In such a way though, it is insufficient to understand it literally. In order to transcend the limit of sociological and historical context, a new understanding is needed. This article is a re-reading of the gospel and the Catholic tradition as one way to build further understanding of women and men relations, especially on the issue of women discipleship. By doing this, we can transcend ourselves beyond our socio-cultural, socio-historical even socio-psychological context. Thus, a Christian, especially, who claims to be the follower of Jesus, has more reason to be like Jesus. Contribution: An innovative exercise to develop a theological anthropology, by understanding the dynamics of human personality, and developing a theology of the women-men relationship in Catholic tradition, especially in this case re-reading the Scripture, to re-think the status of woman-man discipleship in the Catholic tradition. (shrink)

As much as Zimbabwe is considered one of the highly literate countries in the Global South, with well documented succession and inheritance laws, womenfolk continue to be stripped of their assets after the death of their husbands. This trend became even worse during the peak of the COVID-19 pandemic when movement was restricted, making it difficult to access the courts of law. Using a mixed methodological approach of a desk research and qualitative interviews conducted in the Methodist Church in Zimbabwe, (...) Zororo Comfort circuit in Harare, it has been noted that women and girls face numerous horrific experiences, pushing them to wallow in the margins of society. This study therefore calls for the church to address the vulnerability of women and girls using a deviant theory. To date, there are increasing figures of domestic violence, sexual assault, and child marriages. Financial and communal disturbances corresponding through continuous pandemic challenges for women are aggravated, and those who survive find it challenging to hunt for fairness because of stockpiled court issues and freedom for the perpetrators. The fact that women are dispossessed of their belongings because of the cultural status of being a woman calls for a cultural cue. Using a deviant theory in the narrative of a tenacious widow in the gospel of Luke 18:1–8 from a sociological dimension, this study provides a critical edge into interpreting the action of this widow who deviated from expected societal customs. The study concludes by calling faith communities to re-read the widow’s story through deviant theory spectacles to raise questions on how this widow courageously represented herself from societal margin to undermine the centre (patriarchal standards) and to utilise the text as a resource for addressing the plight of women to be repositioned and be empowered in Zimbabwe.Contribution: This study contributes to the ongoing academic studies on women, pandemics, religion and gender, using the Methodist Church in Zimbabwe, Zororo Comfort circuit as a case study. It concludes by an invitation to faith communities to re-read the widow’s story using a deviant theory in order to use the text as a resource to alleviate the plight of women and empower them to the position of equilibrium with men. (shrink)

The historical figure of the cow as a symbol is treasured and ancient, yet simultaneously this animal in many societies exists de facto for people’s plates. The cow, like other animals, exists in parts: as treasured symbol, and as commodity. Looking at collections by contemporary Anglophone poets, Ariana Reines, and Selima Hill, I will consider how each writer’s self-reflexive critique of animal representation reorients the material subjects of their poems, intersecting these innovative poetries with contemporary thinkers on animal studies, to (...) realize the limits of a poetic perspective on animal bodies. Both writers work either against or deliberately within a lyric mode critiqued for its objectifying address in order to interrogate modes of rendering that position the animal’s existence as a resource. From Reines’s scatological slaughterhouse to Hill’s surreal landscapes I will explore how the symbolic and literal exploitation of an animal’s “flesh” in their poems is counteracted. (shrink)

In both the literal and metaphorical senses, it seemed as if 1970s America was running out of gas. The decade not only witnessed long lines at gas stations but a citizenry that had grown weary and disillusioned. High unemployment, runaway inflation, and the energy crisis, caused in part by U.S. dependence on Arab oil, characterized an increasingly bleak economic situation. As Edward D. Berkowitz demonstrates, the end of the postwar economic boom, Watergate, and defeat in Vietnam led to an unraveling (...) of the national consensus. During the decade, ideas about the United States, how it should be governed, and how its economy should be managed changed dramatically. Berkowitz argues that the postwar faith in sweeping social programs and a global U.S. mission was replaced by a more skeptical attitude about government's ability to positively affect society. From Woody Allen to Watergate, from the decline of the steel industry to the rise of Bill Gates, and from Saturday Night Fever to the Sunday morning fervor of evangelical preachers, Berkowitz captures the history, tone, and spirit of the seventies. He explores the decade's major political events and movements, including the rise and fall of détente, congressional reform, changes in healthcare policies, and the hostage crisis in Iran. The seventies also gave birth to several social movements and the "rights revolution," in which women, gays and lesbians, and people with disabilities all successfully fought for greater legal and social recognition. At the same time, reaction to these social movements as well as the issue of abortion introduced a new facet into American political life-the rise of powerful, politically conservative religious organizations and activists. Berkowitz also considers important shifts in American popular culture, recounting the creative renaissance in American film as well as the birth of the Hollywood blockbuster. He discusses how television programs such as All in the Family and Charlie's Angels offered Americans both a reflection of and an escape from the problems gripping the country. (shrink)

Este artigo tem como foco uma análise do texto “A mulher e a arte” (sem data), da escritora carioca Júlia Lopes de Almeida (1862-1934). Este escrito, recém-publicado na íntegra pela primeira vez, em revista acadêmica, constitui uma conferência da autora na qual ela expõe suas opiniões sobre o tema da arte de autoria feminina, tecendo uma série de críticas de cunho feminista à desigualdade entre os gêneros no espaço da criação artística. Em seu texto, a literata cita diversos nomes de (...) artistas e intelectuais mulheres, de modo a sustentar seu argumento em defesa da potência criativa feminina e assinalar a importância da transformação da cultura patriarcal. Assim, a partir do olhar historiográfico e embasados pela epistemologia feminista, buscamos ressaltar a conferência como fundamental para o estudo da escrita de autoria feminina e feminista no Brasil entre os séculos XIX e XX.Palavras-chave: Júlia Lopes de Almeida. Literatura. Feminismo. AbstractThis article focuses on an analysis of the text “The woman and the art” (undated), by the writer Júlia Lopes de Almeida (1862-1934), from Rio de Janeiro. This writing, recently published in full for the first time, constitutes a conference in which the author exposes her opinions on the theme of art of female authorship, weaving a series of feminist criticisms of the inequality between genders in the space of artistic creation. In her text, Júlia lists several names of artists and women intellectuals, in order to support her argument in defense of the feminine creative power and point out the importance of the transformation of patriarchal culture. Thus, from the historiographic perspective and based on feminist epistemology, we seek to emphasize the conference as fundamental for the study of female and feminist writing feminists in Brazil between the 19th and 20th centuries.Keywords: Júlia Lopes de Almeida. Literature. Feminism. (shrink)

Polygamy, which was practiced without limitations in the past, had been restricted to four wives after the arrival of Islam in the Arabian Peninsula. However, some scholars have different views on this issue, supposedly influenced by the literal and cultural background of patriarchal tradition on treating women as the object of polygamy. This article attempts to examine the construction of patriarchal interpretation in a gender-biased interpretation, its factors and its implications. This study adopts a qualitative approach and employs a content (...) analysis approach. Interviews with relevant scholars are also used to explore in-depth information regarding this subject. The object of research is based on a full set (30 juz /chapters) of 11 books of tafsir written in Indonesia. These books are Tafsir Al-Furqan, Tafsir Quran, Adz-Dzikra: Terjemah dan Tafsir al-Quran, Al-Quran dan Terjemahnya, Tafsir Quran Karim, Tafsir al-Azhar, Tafsir Rahmat, Tafsir al-Quran al-Majid an-Nur, Tafsir al-Mishbah, Al-Quran and its Exegesis of the Department of Religion, and Tafsir al-Hijri. This study found that women have been exploited through polygamy practices. Our findings show that biased gender interpretation, especially because of the patriarchal mindset, brought a greater impact on the Quranic interpretation. This study suggested that reinterpretation towards Quranic verses particularly dealing with gender issues needs to be strengthened in accordance with justice and humanistic values. Contribution: This article offered two approaches for the study of the Quran in order to establish gender equality and justice in marriage practice. Firstly, the adaptive and humanistic interpretations of the Quran need to be strengthened and should raise common consciousness in Muslim society. Secondly, there is a need to study the Quran in an integrative, holistic and hermeneutical understanding of the Quranic text. This method can explore the deepest meaning of the Quran so it can rise gender-sensitive, humanist and moderate interpretations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:74 Feminist Studies 46, no. 1. © 2020 by Feminist Studies, Inc. Jennifer L. Holland “Survivors of the Abortion Holocaust”: Children and Young Adults in the Anti-Abortion Movement During the last three decades of the twentieth century, children across the United States regularly encountered adults who both hailed them as survivors of a holocaust and pleaded with them not to perpetrate one. These adults were not talking about war, (...) at least not in a traditional sense. They were talking about legal abortion. Children and young adults often heard this pitch in school presentations like one made in the mid-1970s by a California anti-abortion group, United Parents Under God, in which pictures of aborted fetuses (whose “feet will never kick a football... run on a playground... or play hopscotch”) and their imagined lost life stories were the centerpiece. Next to pictures of aborted fetuses were pictures of two prematurely born infants of color (the only people of color in the presentation) who were supposedly in danger under Roe v. Wade. With murder hovering in the air, activists asked their teen audience, “Is someone you love next?” According to these California anti-abortion activists, young people were physically and intellectually vulnerable to pro-choice views because they inhabited “atheistic” classrooms “where evil can no longer be called ‘evil.’” “You are quite literally ‘trapped’ in a completely ‘pagan’ situation in our secular society and schools and we must reach you anyway we can,” they continued. In the so-called “pro-life” worldview, liberals were brainwashing children and young people through the media, public schools, and many other institutions. Jennifer L. Holland 75 “Women’s liberal abortion speakers,” political scientists, “who typically work for the STATE” and for whom the “ends justify the means,” and new “secular-science textbooks”—all were trying to frighten teenagers to “into killing [their] OWN OFFSPRING,” activists said. Anti-abortion women, “ordinary women... who LOVE you” according to the California presentation, sought to protect children while feminist “witches... distort [ed] God’s purposes of sexuality.”1 In order to counteract what they viewed as corruption, anti-abortion activists had to wage a counter -battle, politicizing children in order to make them innocent again. In practice, that meant bringing the abortion wars—with their attendant graphic imagery and discussions of immorality, murder, and “holocausts ”—into the haven of childhood. From the movement’s early days, anti-abortion activists waged their fight in the name of innocent young people; abortion, they said, was a genocide of children. While these activists were certainly not the only US movement to use the supposed vulnerability of children to elicit public support for their cause, they also did something different. For the anti-abortion movement, children and young adults were more than just endangered innocents; they were also potential perpetrators. Young people, it seemed, were more liberal than their elders, having allegedly been reared in and indoctrinated by liberal culture. They seemed, in short, to be a potentially pro-choice generation. Thus, adult activists spoke more to and about young people at the end of the century. Adults needed young people to speak for fetuses as “Survivors of the Abortion Holocaust,” but they also needed to convert and save America through them. The anti-abortion narrative of childhood vulnerability offered the restoration of social hierarchies as a solution to the problem of abortion. It was “women’s liberal abortion speakers” and feminist “witches” who were the sources of societal indoctrination. Pro-choice women separated sex and reproduction, thus undermining women’s role in society and changing their relationships with men. More subtly, anti-abortion 1. United Parents Under God, “That They May Live: A Presentation on Abortion,” n.d., folder 1, United Parents Under God Ephemeral Materials, Wilcox Collection of Contemporary Political Movements, Kansas Collection, Kenneth Spencer Research Library, University of Kansas. This publication was probably created in the early to mid-1970s because the few citations contained within are from between 1970 and 1973. 76 Jennifer L. Holland activists—who were almost always white—mourned the loss of past racial hierarchies while also envisioning theirs as a civil rights movement. In the California presentation mentioned above, activists explicitly compared abortion to mandated... (shrink)

Feminist scholars have long argued that the pregnant body is erased – both literally and discursively – from mainstream foetal representations. Janemaree Maher argues that the placenta, as point of distinction and connection between pregnant women and foetuses, has the radical potential to refigure understandings of pregnant embodiment and subjectivity, and offer ‘a way to begin thinking through the impasse of pregnant representation’. Drawing on Maher's notion of the ‘placental body’, this article will examine the place of the placenta in (...) the practice of non-diagnostic 4D ultrasound scanning. The analysis seeks to connect Maher's theoretical perspective, and the rich feminist literature around foetal imaging, with observational data from my study of 4D scans. I will argue that the capacity of 3- and 4D sonography to image the placenta and umbilical cord in a way that is newly intelligible to lay viewers might present an opportunity for thinking differently about the interconnections – material and social – between pregnant women and foetuses and to relocate women as the subjects of their pregnancies. (shrink)

"An eloquent work. Somer Brodribb not only gives us a feminist critique of postmodernism with its masculinist predeterminants in existentialism, its Freudian footholdings and its Sadean values, but in the very form and texture of the critique, she literally creates new discourse in feminist theory. Brodribb has transcended not only postmodernism but its requirement that we speak in its voice even when criticizing it. She creates a language that is at once poetic and powerfully analytical. Her insistent and compelling radical (...) critique refuses essentialism-from both masculinist thinkers and their women followers. She demystifies postmodernism to reveal that it and its antecedents represent yet another mundane version of patriarchal politics. Ultimately Brodribb returns us to feminist theory with the message that we must refuse to be derivative and continue to originate theory and politics from the condition of women under male domination." -Kathleen Barry, author of Female Sexual Slavery An iconoclastic work brilliantly undertaken . . . Nothing Mat(T)ers magnificently shows that postmodernism is the cultural capital of late patriarchy. It is the art of self- display, the conceit of masculine self and the science of reproductive and genetic engineering in an ecstatic Nietzschean cycle of statis." -Andre Michel Nothing Mat(T)ers encapsulates in its title the valuelessness of the current academic fad of postmodernism. Somer Brodribb has written a brave and witty book demolishing the gods and goddesses of postmodernism by deconstructing their method and de-centering their subjects and, in the process, has deconstructed deconstructionism and decentered decentering! This is a long-awaited and much-needed book from a tough- minded, embodied, and unflinching scholar." -Janice Raymond. (shrink)

_The Laws_, Plato's longest dialogue, has for centuries been recognized as the most comprehensive exposition of the _practical_ consequences of his philosophy, a necessary corrective to the more visionary and utopian _Republic_. In this animated encounter between a foreign philosopher and a powerful statesman, not only do we see reflected, in Plato's own thought, eternal questions of the relation between political theory and practice, but we also witness the working out of a detailed plan for a new political order that (...) embodies the results of Plato's mature reflection on the family, the status of women, property rights, criminal law, and the role of religion and the fine arts in a healthy republic. "Because it succeeds in being both literal and comprehensive, it is by far superior to any translation available. By reproducing dramatic detail often omitted, such as oaths, hesitations, repetitions, and forms of address, Pangle allows the reader to follow the dialogue's interplay between argument and dramatic context.... Pangle's translation captures the excitement and the drama of Plato's text."—Mary P. Nichols, _Ancient Philosophy_ "Pangle's achievement is remarkable.... The accompanying interpretive essay is an excellent distillation of a dialogue three times its size. The commentary is thoughtful, even profound; and it amply demonstrates the importance of reading Plato carefully and from a translation that is true to his language."—Patrick Coby, _American Political Science Review_. (shrink)

For over eight hundred years, philosophers—men and women—who called themselves Cynics, literally "dogs" in their language, roamed the streets and byways of the Hellenistic world, teaching strange ideas and practicing a bizarre way of life. Among them, the most important and distinctive was Diogenes of Sinope, who became the archetype of Classical Cynicism. In this comprehensive, thoroughly researched, and engaging book, philosopher Luis E. Navia undertakes the task of reconstructing Diogenes' life and extracting from him lessons that are valuable in (...) our time. The book is divided into five chapters. Chapter 1 provides a biographical sketch of Diogenes constructed on the basis of ancient testimonies. In Chapter 2, the practice of Cynicism, as exemplified by Diogenes, is elucidated. This "war against the world," as Navia describes it, especially the rhetoric of Cynicism, was the primary medium used by the Cynics to convey their message. Chapter 3 clarifies the roots and basis of the Cynic metamorphosis, that is, the process by which Diogenes transformed himself into a dog. This process involves complex psychological, sociological, and philosophical factors, chief among which was Socrates' influence on Diogenes through the agency of Antisthenes. Chapter 4 reconstructs the philosophy of Diogenes by identifying twelve principles of his thought. In Chapter 5, the influence of Diogenes is discussed. Navia emphasizes the vast difference between Diogenes' ideas and style of life on the one hand and, on the other, what is nowadays called cynicism. The book provides abundant references to ancient testimonies and modern scholarship. It includes an extensively annotated translation of Diogenes Laertius's biography of Diogenes and a comprehensive bibliography. (shrink)

This paper draws on data from the most recent Australian Bureau of Statistics (ABS) Time Use Survey (TUS) (over 4,000 randomly selected households) to tease out the dimensions of the ‘second shift’. Predictions that as women entered the paid workforce men would contribute more to household labour have largely failed to eventuate. This underpins the view that women are working a second shift because they are shouldering a dual burden of paid and unpaid work. However, time use research seems to (...) show that when both paid and unpaid work is counted, male and female workloads are in total very similar. This has led to suggestions that a literal second shift is a myth; that it exists in the sense that women do more domestic work than men, but not in the sense that they work longer hours in total. Using a more accurate and telling measure of workload than previous research (paid and unpaid labour including multitasked activities), this paper explores the second shift and how it relates to family configuration, ethnicity and indicators of class and socioeconomic standing. It finds a clear disparity between the total workloads of mothers and fathers, much of which consists of simultaneous (secondary) activity, and some demographic differences in female (but not male) total workloads. It concludes that the view that the second shift is a myth is only sustainable by averaging social groups very broadly and by excluding multitasking from the measurement of total work activity. (shrink)

Post–dualist philosophies of nursing acknowledge embodiment as a condition of human existence. Philosophical writing, however, remains abstract and disembodied. A philosophical framework that embraces embodiment needs to recover the materiality of language; its text needs to include language that is not only rational and clear but sensuous and ambiguous. I describe three cultural narratives of women's embodiment and compare them with an imaginative narrative, a nurse's poem about women in labour. I propose, not that philosophers become poets, but that they (...) abandon a dualist position in which language is either literal or metaphorical, adopting instead the poet's approach in which any word or object has unlimited meanings. I argue that, without fixed reference points, language embodies rather than escapes contingency. Finally, I discuss two forms of philosophical writing – irony and motet – that savour contingency, illustrating philosophy as endless redescription, aiming not for finality but for the grace of a dancer's deliberate fall. (shrink)

This is an intellectual biography in the most literal sense; at no point in the history of American philosophy has an individual embodied the ideals that they wrote about at length. Philosophical idealism, pragmatism and feminism served as guides for Ella Lyman Cabot as she entered the discipline of philosophy, a discipline that continues to marginalize the work of women to this very day.

Bodily display and self-awareness are generally mediated by restrictive ideologies of youthful beauty. ‘How do I look?’ is therefore a salient question in terms of personal ageing. Dance makes bodies watchable, while ageing has been claimed to make bodies ‘unwatchable’. Ethnographic research conducted amongst a group of older dancers provides an opportunity to study these ideological tensions empirically, by analysing the discursive representations of older dancers and their teacher. ‘The mirror’ is a productive theme in the data, giving access to (...) understandings of watchability of more and less literal sorts. It proves to be the case that, while dance as a practice for older women remains fitfully tainted by culturally dominant ageist assumptions about the body and ageing, it also opens up far more emancipating ideologies. Older dancers’ articulation of these ideologies are suggestive of how embodied ageing can be reconstrued, well beyond dance contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unsaying Life Stories:The Self-Representational Art of Shirin Neshat and GhazelAphrodite Désirée Navab (bio)What connects the two artists in Figures 1 and 2 across time and place? (See pages 40 and 41.) The protagonists seem to be so "at home" in their landscape that they do not stand out as disruptions to a cultural rhythm. They are wearing clothing that symbolizes Iran, and they are in an environment that evokes (...) Iranian art and architecture. In Figure 1, a scene in Shirin Neshat's video Soliloquy (1999), a woman stands near the kind of dome one often sees in Islamic architecture; the compatibility of the curved and the straight lines is striking. The woman is washing herself, possibly in preparation for prayer. Her hands are artistically dyed with henna. Her eyes are closed as the water runs down her face. She seems to be unaware of the camera, involved in a private moment, a purification ritual perhaps. Her clothing, her hands, and the architectural background are all consistent with familiar images of the Middle East. The woman marching in a black chador in a video still by Ghazel (Figure 2) also seems to be quite "at home." The text underneath the image says that both her grandfathers were colonels. This "bothness" is repeated by the text written underneath the image, which appears both in English and in French. She marches to the right of the frame with the straight posture and hint of pants and boots characteristic of a soldier. Like the protagonist in Neshat's video, she neither looks at the camera nor seems to care that it is there. She seems to be re-enacting a private moment of family history.At least, this is what the images say at first glance. Upon closer inspection, the viewer learns that the two protagonists are the artists themselves. They are more than conscious of the camera; they have actually directed these visual narratives. They are posing. This is one role from among many that they could have played. Both artists are native to Iran, but they are [End Page 39] acting in their own productions. They are playing a particular role. They have made the directorial decisions about camera angle and distance, about the time and place, and about the final look of the production. They make images: they are fully aware that they have pictured themselves alongside symbols of Iran. Click for larger view View full resolutionFigure 1.Shirin Neshat. Soliloquy, 1999, production still.So why are they pretending not to be conscious of the camera? The conscious decisions of the artists point to an issue that is left unsaid but whose absence says a lot. Perhaps, beneath all this effort to seem comfortable, there is discomfort as well. Are these people in fact "at home," or has home become foreign to them? Has this alienation propelled these artists to picture themselves together with readily identifiable, traditional markers of Iranian culture? Are these productions a way of re-negotiating their place with their native land, to find a voice, a space from which to speak?Culturally hybrid persons are often caught in the crossfire of prejudices. For hybrid Iranians, these prejudices are exacerbated by international political tensions that fall along three dimensions of limited visions. They include historical prejudice, where each nation dominates the other in the telling of history; cultural prejudice, stemming from mutual suspicion and ignorance; and political prejudice, as a result of inflexibility, of an unwillingness to [End Page 40] envision the other's view. Art can be a powerful means for challenging the stereotypes of mutually antagonistic nations. In autobiographical art, moreover, artists may use the "telling-self" to "unsay" what has been attributed to them through these stereotypes. By literally and metaphorically engaging the public in seeing alternative realities and histories, these artist-philosophers offer an alternative of historical collaboration, cultural knowledge, and political flexibility. Click for larger view View full resolutionFigure 2.Ghazel, Me series, 1997–2000, video still.This deconstructive approach to representation is a significant feature of the camera-based work of two contemporary Iranian women artists: Shirin Neshat (b. 1957) and Ghazel (b. 1966... (shrink)

Sally Gadow's work is a sophisticated version of a familiar line of thought in nursing. She creates a chain of distinctions which is intended to differentiate cultural narratives, and particularly the ‘science narrative’, from imaginative narratives, especially poetry. Cultural narratives regulate and restrict; imaginative narratives are creative, liberating and potentially transcendent. These ideological effects are (supposedly) achieved through different structures of language. Scientific language, for example, is abstract and literal, while poetry is sensuous and metaphorical. In this paper, I argue (...) that Gadow's way of discriminating between science and poetry fails. In the first place, the ideological valence she assigns to each of them is unwarranted. Science and poetry can both be harnessed to the project of emancipation, just as both can be incorporated in a strategy of oppression. In the second place, the claim that poetry and science are distinguished by their respective linguistic features – specifically, that one is metaphorical and the other literal – cannot be sustained. I illustrate this argument, as Gadow illustrates hers, by reference to the concept of embodiment, and consider whether Gadow is correct in thinking that poetry, not science, makes it possible for individuals (especially women) to ‘reclaim the body’. I also suggest that Gadow's brand of postmodernism echoes Romanticism, whose defining characteristic was an insistent contrast between poetry and science. This is ‘flip side’ postmodernism, which merely opposes modernist values, preferring subjectivity to objectivity, feeling to rationality, and multiple realities to truth. It is less radical, and far less interesting, than ‘remix’ postmodernism, whose objective is not to reverse the polarities, but to reconfigure the entire circuit. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Lessons of TheoryJay PariniOne does not have to look far these days to find someone bashing literary theory, and in some respects it deserves it. Joseph Epstein, for one, has almost never tired of picking away at the motives of those who engage in literary theory: “The major impulse of theory was suspicion,” he has said. “In this regard theory gave that portion of the professoriat who came (...) through the sixties unfulfilled, and those younger professors—women, ethnic minorities, homosexuals—who chose to squeeze all they could out of their self-created status of victimhood, a large and lovely outlet for their resentment.” The irony is that one hears in this semi-hysterical cri de coeur the very suspicion that the author is supposedly complaining about. Mr. Epstein, neither female nor gay, apparently feels passed over. Inadvertently, he has become the Victim himself.Literary theory—or just “theory”—has frightened a whole generation of intellectuals into early mental retirement, mostly because they have not the stamina or will to enter into appropriate conversation with their younger colleagues. Perhaps the most unfortunate aspect of the debate over theory has been this extension into the academy of what, in the sixties, used to be called the generation gap; indeed, many of the same dynamics seem to apply, with theorists pitting themselves against all forms of authority. “Never trust anyone under thirty” has been transmogrified into “Never trust anyone who doesn’t appreciate Foucault.”In the seventies, theory moved toward the center of the curriculum at most American graduate schools of literature, and it has remained in place for nearly a quarter of a century. The charge is often heard, perhaps with some justice, that students now spend more time reading [End Page 91] Foucault or Derrida than Shakespeare or Dante, and that this has created an imbalance. But even here, the situation is exaggerated; graduate students do indeed get a heavy dose of theory, yet one sees few undergraduate classrooms in the United States where anything resembling literary theory has displaced the teaching of canonical texts. For the most part what has happened is that the canon has been widened to include texts by previously overlooked writers—usually texts by women or minorities. Such a development hardly threatens to erase or even partially to occlude Homer, Shakespeare, and Milton.The charge that theory is unreadable is, for me, a more important criticism. (There’s a joke I like in this regard: Question: What do you get when you cross a deconstructionist with a mafioso? Answer: An offer you can’t understand.) Jargon has overwhelmed literary criticism to the point where the so-called Common Reader is now fiercely excluded from the conversations that take place in most professional journals and academic conferences, and the consequences of this exclusionary practice are profound. The most obvious effect is that serious literature itself, and thinking about literature and its place in the world, is removed from mainstream consumption. As a result, the general quality of our national discourse—in the arts as well as collateral areas, such as politics—is diminished.This said, I would still argue that an intellectual revolution of sorts has indeed occurred in the last thirty years, and that theory has permanently changed the ways that we—as readers and writers—go about our reading and, yes, our thinking. The peak of the battle over theory passed several years ago; in fact, we seem to have entered a “post-theoretical” moment, and so the time may have arrived for reassessing some of the lessons of theory. This “revolution” is pretty much a literal one: a turning of the wheel. But the wheel has been turning for a long time. Our ways of reading have been challenged almost continuously from the beginning of this century, when the belles-lettres style of criticism popular just after the Great War was dislodged by the philologists, and the philologists were attacked by the literary historians, and the historians were pushed temporarily to one side in the late forties and early fifties by the New Critics. And so forth. The history of criticism is simply a history of overturnings, or absorptions (I rather... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Brit Milah for Eliezer Herschel ben Yonatan AryehMolly SinderbrandFor observant Jews, the choice to circumcise one's son is not a choice. Technically, it is a contractual obligation; the belief is that male circumcision is part of a holy covenant with God. The word for ritual circumcision, brit milah or bris, literally means "covenant [of circumcision]." Circumcision is a physical symbol of a relationship with the divine. It is (...) the commandment that encompasses all other commandments. It is, thankfully, only required of men (women, they say, are naturally closer to divinity). Circumcision is when a baby boy enters the Jewish community, eight days after birth, and when he gets his name. He becomes somebody. To choose otherwise— and some may choose otherwise—is to choose not to be part of the contract, and by extension, not be part of the Jewish community. And a community is one of the most valuable things a person can have.I was not always an observant Jew, though I was raised in a Jewish household. I essentially fell into observance over a period of 10 years, starting with studying ancient Hebrew with a language-loving rabbi in high school and eventually leading to weekly attendance at an orthodox shul, which I joined shortly after first tasting the vegan cholent at kiddush. It was much easier to make friends in [End Page 91] the Jewish community than in my competitive and mildly misogynist graduate program, and frankly, I liked them better. I received kindness and support when I needed it, and gave it back equally, especially around having children. Having children is difficult under any circumstance, but it is especially difficult in social settings where it is seen as abnormal, strange, or even selfish. The Jewish community normalized having children and created a respite from the judgment of the secular world. When I was pregnant at work, I got comments like "It looks like you're having twins!" and "Are you sure you don't have pre-eclampsia? You look awfully large"; at shul, I got pep talks, encouragement, and the traditional "b'sha'a tova"—"may it happen at a good time."Eventually, after having two kids in a two-bedroom rowhome, my husband and I moved to a mostly-Jewish suburb just outside the city. It is the kind of place where everyone says "Gut Shabbes" (a good Sabbath) to each other on Saturdays, but not one in which all the men wear black hats and study Torah all day (though some do). That is, folks live Jewish lives, but interact with the outside world as well. After a few months, it felt like home.This was the context in which I decided—or rather, did not have to decide—to circumcise my son. It was the natural result of the decision to be part of a community that places value (and even membership) on the ritual of circumcision. I made that decision years earlier and have been continuously reaffirming it since. Every day I wake up is a day I decide to be an observant Jew, and I decide to do so in order to be a member of an observant community. The decision to circumcise was yet another decision to be part of that community, which has given me so much joy, support, and meaning. Why would I deny my son—and myself—that community?In addition, not needing to make any decisions was itself a kind of relief. I have heard of mothers—including my own—off in a room crying, needing comfort, unable to be there for the circumcision. That did not happen for me. Despite a history of rather severe perinatal depression and anxiety, including suicidal ideation less than a week before the event, I was completely fine. Maybe my comfort came from the fact that I already had two children; this was not my first newborn, though it was my first bris. Maybe, after almost two years of COVID, circumcision did not seem like such a big deal. Maybe I was just glad someone else would hold the baby for a while. But I think at least part of it was the happiness that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Puzzle of Fanny PriceJoyce L. JenkinsIt is common to open a work regarding the merits of Mansfield Park by noting that Fanny Price is very difficult to like. Nietzsche might have described her as a "moral tarantula." 1 She sits, making negative moral judgments about the actions of others, while doing nothing herself. Fanny spends most of her time, literally, sitting or lying down. Austen describes her character (...) as "supine." Comparing Fanny with her sister Susan, Austen says that "Susan was only acting on the same truths, and pursuing the same system, which her [Fanny's] own judgment acknowledged, but which her more supine and yielding temper would have shrunk from asserting. Susan tried to be useful, where she could only have gone away and cried" (MP, p. 395). 2 And Fanny cries all of the time. She cries at least thirteen times over the course of the novel. So, there are two questions about the novel that need to be answered. Why did Austen create a heroine who is so clearly distasteful? Why do some critics and philosophers see Fanny as a moral ideal or cultural icon? Some (Alasdair MacIntyre, Gilbert Ryle, Lionel Trilling) argue that Fanny is so unappealing just because Austen wants to be didactic 3 and force us to focus on virtue. According to Lionel Trilling, for example, Mansfield Park has a different moral message from Pride and Prejudice. "Its praise is not for social freedom, but for social stasis. It takes full notice of spiritedness, vivacity, celerity and lightness, but only to reject them as having nothing to do with virtue and happiness, as being, indeed, deterrents to the good life." 4 Others think that the infelicities of the novel and its heroine make it a parody of traditional feminine values and conservative moral thought in general. 5 Here, I shall argue that a path between these two extreme ways of reading the novel is correct. I shall argue, using Alasdair MacIntyre's discussion as a starting [End Page 346] point, that Austen does not cast Fanny as a moral ideal. If Austen is Aristotelian (a common view among philosophers) Fanny cannot be an ideal. And, although I agree with Johnson's view that those who have read the novel as morally conservative are wrong, I do not think that the novel exhibits global skepticism about traditional standards for the beautiful/feminine. Austen condemns the idea that women should be passive dolls who do not think for themselves, but she does not parody the traditional idea that women should be sweet, gentle, and caring. In my view, Fanny's character constitutes a criticism of passivity, and of rigid adherence to moral rules.Alasdair MacIntyre's view is that Austen is an Aristotelian moralist with a Christian slant on the make-up of the virtues. He describes Fanny's character as an ideal of virtue. He argues that Fanny is pretty much lacking in charm just because Austen wanted to focus on the nature of virtue, which charm can obscure and which Fanny is meant to epitomize.For charm is the characteristically modern quality which those who lack or simulate the virtues use to get by in situations of characteristically modern social life... And the charm of an Elizabeth Bennett... may mislead us... Fanny is charmless; she has only the virtues, the genuine virtues to protect her... and when she disobeys her guardian, Sir Thomas Bertram, and refuses marriage to Henry Crawford it can only be because of what constancy requires. In so refusing she places the danger of losing her soul before the reward of gaining what for her would be a whole world. She pursues virtue for the sake of a certain kind of happiness and not for its utility. 6So, MacIntyre thinks that Fanny Price is meant to be a stripped down model of virtue, with constancy being the keystone virtue that she exhibits. "Constancy is crucial in at least two novels, Mansfield Park and Persuasion, in each of which it is a central virtue of the heroine... And without constancy all the other virtues to some degree lose their point" (AV, p. 242).But when constancy is discussed... (shrink)

This is the second of two articles investigating the filmic representations of Jesus and the Christ-event. The first article investigated the theological and esthetic issues raised by the major works in the one hundred years' tradition of the Jesus film. The present study takes into consideration the films which approach the Jesus story and the Christ-event metaphorically, the so-called Christ-figure films. It begins with a discussion of the biblical-theological foundations for such a metaphorical representation, and then it analyses a series (...) of films which can be interpreted as adopting this approach. Jesus of Montreal is analysed as a transitional film which represents both literal and metaphorical images of Jesus, privileging, however, the metaphorical approach. The classical American western Shane is seen as shifting its content and themes away from the typical «mythical » western in order to better accommodate the Jesus and Christ themes. The filmic embodiment of the Jesus story and Christ-event in women Christ-figures is examined in two films, Babette's Feast and Bagdad Café . Then the longer original version of one of Kieslowski's Decalogue films, A Short Film about Love, is interpreted as an extended metaphor of the salvific encounter between Jesus and Mary Magdalene. Finally, Bresson's masterpiece, Au hasard Balthazar, is considered as creating in its protagonist, the donkey Balthazar, the most audacious and theologically profound Christ-figure i. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TWILIGHT OF THE VAMPIRES: HISTORY AND THE MYTH OF THE UNDEAD Matthew Kratter University ofCalifornia Berkeley "Whoever fights monsters should see to it that in the process he does not become a monster." (Nietzsche, Beyond Good andEvil, IV, 146) One ofthe most satisfying parts ofan extended engagement with the mimetic theory is the bird's-eye view of history that it affords one—that magnificently coherent panorama which stretches from proto-hominids through (...) the Passion to post-culture and the Apocalypse. The sheer scope of Girard's historical vision is also, admittedly, one ofthe more controversial aspects of his theory. As early as Violence and the Sacred (French, 1972; English trans., 1977), in a conscious revolt against the anti-Hegelian and anti-systematic temper of the times, Girard implied a historical telos for human culture that consists ofthe gradual replacement of sacrificial by non-sacrificial paradigms and praxes. With the publication of Things Hidden Since the Foundation ofthe World (1978; 1987) and The Scapegoat (1982; 1986), however, Girard appeared to step beyond the pale of polite (read, secularist) academic discourse by explicitly identifying the Christian Paraclete as the divine dynamo behind the historical process: "The Spirit is working in history to reveal what Jesus has already revealed, the mechanism ofthe scapegoat, the genesis of all mythology, the nonexistence of all gods of violence" (Scapegoat 207). More recently, in an essay on Satan (literally, "the accuser"), the contrasting role of the Paraclete (literally, "the lawyer for the defense") as a defender ofvictims is again emphasized: Matthew Kratter31 It is possible to read the history, first of the Christianized West, then ofthe Westernized planet, our modern history, as... a process of vindication and rehabilitation of more and more persecuted victims. New hidden victims of society are continuously being brought to light; the consensus against them always dissolves after a while. First it was slaves, then the lower classes, then people ofdifferent ethnic and religious backgrounds. Today the victimization of ethnic groups, of women, ofhandicapped people, ofthe very young and the very old, is coming to light. (GirardReader 208) Mostrecently, Girard's view ofhistory has become, ifanything, more unified, as (following Raymund Schwager) he has begun to emphasize the continuity between the sacrificial and the non-sacrificial (without, of course, trying to elide their differences). At a recent AAR/SBL conference in San Francisco (22 November 1997), Girard discussed the Eucharist as a recapitulation ofthe religious history of mankind, in which all previous forms of sacrifice are present (from cannibalism and "other-sacrifice" to the other end of the spectrum and "self-sacrifice"). Or phrased somewhat differently, the redemptive effects ofthe Passion radiate backwards and forwards in time— what Giuseppe Fornari implies when he refers to Christianity's "capacity to redeem the whole history ofman, summing up and surpassing all its sacrificial forms" (187). It may well prove that "Sacrifice" (with a capital "S") is the single most important and comprehensive word that we possess to describe our history. The central contention ofthis essay is that the phenomenon ofthe vampire offers itself as a privileged site for exploring this work of the Paraclete in history. The very processes of "bringing to light" and "exhuming victims," described by Girard above, are certainly metaphors appropriate to the twilit world ofthe vampire, in which the undead are always being dug up or exposed to die light. IfI maintain that, this late in the twentieth century, we are living in the "twilight ofthe vampires," the allusion to Wagner's Götterdämmerung and Nietzsche's Götzen-dämmerung is not accidental. The ambiguity ofthe German verb dämmern (which can mean "to grow dark" or "to grow light") captures all the paradoxes that surround the mythologizing, demythologizing, and remythologizing of the traditional figure ofthe vampire. I will explore these paradoxes in five successive moments (in the most archaic and traditional form taken by the vampire, then in a medieval persecution text, a late-Victorian novel, a German Expressionist film, and finally a series of 32Twilight ofthe Vampires contemporary popular novels) in order to demonstrate the various metamorphoses undergone by the vampire throughout a history which may be viewed as overseen by the Paraclete—and by a... (shrink)

Internationally, the need to advance science, technology, engineering and mathematics education is recognized as being vital for meeting social and economic challenges and developing a scientifically, mathematically, and technologically literate citizenry. In many countries, however, there are gender differences in the participation and achievement of girls and women in STEM education and STEM careers, usually to the disadvantage of females. This paper aims to identify challenges to female students’ participation in STEM both at post-primary level and beyond in the Irish (...) context. The research questions we aim to address in this paper are: what are student attitudes towards science, technology, engineering and mathematics as measured through interest and perceived ability in STEM, students’ valuing of STEM and students’ commitment to STEM? and what gender differences occur regarding students’ attitudes to science, technology, engineering and mathematics? A survey was completed by 308 post-primary students in Ireland as part of a one-year research project titled “STEMChAT: Women as catalysts for change in STEM education.” Data analysis compiled descriptive statistics, including response frequencies and percentages and median and interquartile range values, and compared gender differences in survey responses using the Kruskal–Wallis H Test. Results indicated that female students had significantly more positive attitudes to science compared to males while in comparison, males had significantly more positive responses to mathematics compared to females. Challenges regarding access to and understanding of STEM in the context of post-primary education are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Wiley Blackwell Companion to Religion and Ecology ed. by John HartDannis M. MattesonThe Wiley Blackwell Companion to Religion and Ecology Edited by John Hart OXFORD: JOHN WILEY & SONS LTD, 2017. 560 pp. $195.00If ecology is the study of "relationships in a place," as John Hart reminds readers in the preface of the Wiley Blackwell Companion to Religion and Ecology, it is fitting that this volume centers (...) its thrust relationally (xxiv). Throughout its pages, a diverse community of authors explores the relationships among religious and spiritual traditions, human life, and care for the Earth. Defining religion as a language with which to grapple with meanings assigned to cultural values (xxi), this volume turns to the meanings that humans have historically placed on their relationship to the Earth within spiritual and religious frameworks. It further ponders how our religions and spiritual traditions reflect a relationship to the Earth that is conscious of the status of our planet's health today. Offering insights from Buddhism, Hinduism, Islam, Judaism, Eastern and Western Christianity, and indigenous perspectives, the authors reflect on new and old insights from within their tradition that speak to specific ecological issues. The volume is split into four parts, flowing thematically from conceptual and descriptive, to concrete visions for practical steps toward healing the Earth. [End Page 199]Part 1 describes the various ways religious and spiritual traditions enhance ecological consciousness. Seyyed Hossein Nasr shows how the Qur'an depicts the created order as a reflection of God's face, suggesting that we are literally defacing the face of God in our industrial recklessness. David Mevorach Seidenberg presents a Jewish eco-theology, which decenters the human as the pinnacle of creation. In part 2, the authors further draw out the socioecological implications of religious teachings. Melanie Harris argues that religious communities must open their eyes to the link between structural violence against black women to structural violence against the Earth. She maintains that this analysis is key to finding solutions for ecological reparations. When Harris argues that social justice is Earth justice, she is claiming that the dismantling of both white supremacy and colonial ecology go hand in hand.Part 3, titled "Ecological Commitment," highlights the specific contexts in which the relationship between religion and ecology are embedded. Myrna Perez Sheldon and Naomi Oreskes trace the entanglement of evangelical identity with the politics of scientific doubt. In response, they suggest a new framework for evangelical participation in environmental restoration that moves beyond a political identity that is chained to right-wing doubt about climate change. In asking how "Korean Christianity can become more Nature-conscious, Nature-related, and Nature-integrated," Yong Bum Park points to Chondogyo, a Korean indigenous religion (333). This tradition is shown to take seriously the ecological crisis as a "crisis of consciousness and conduct," encouraging religious people to foster a socioecological vision of restoration (333).Part 4, which provides examples of concrete visions and projects on the ground, ends with John Hart's reimagining of the Earth as a "common commons." The notion that the Earth is a sacred "common commons" of "interdependent, integral, evolving relational community" requires conversion in light of how religious people relate to the Earth today (437). According to this commons ethic, land should be "commonized and communalized" rather than rendered private property (476).I highly recommend this volume for teaching undergraduate and graduate courses that are exploring the intersection of religion and ecology, especially courses focusing on religious ethics. Though the breadth of this work might strike the reader as boundless, herein lies its strength, especially for teachers of Christian ethics. This resource broadens the conversation recently highlighted by Pope Francis in Laudato Si' beyond the Christian perspective on ecology. The Companion models interreligious dialogue, opening to the diverse ways many different religious and spiritual traditions demand action for environmental restoration. [End Page 200]Dannis M. MattesonLoyola University ChicagoCopyright © 2018 Society of Christian Ethics... (shrink)

Recently, the government of Zimbabwe unveiled a newly constructed statue of the esteemed spirit medium and liberation icon who intrepidly fought against the British imperialism. The distinguished heroine is passionately known as Mbuya Nehanda Charwe Nyakasikana. The lexical item, ‘Mbuya’ in Shona language literally means grandmother. This study examines the ways in which the spectres of religion, historiography, gender and national politics find expression in often contested state narratives of Mbuya Nehanda and in selected Zimbabwean fictional writings. Foucault’s theorisation of (...) socio-political practices and subjectification as sites of power, together with the Critical Discourse Analysis (CDA) framework and bell hooks’ feminist thought of ‘talking back’, provide provocative insights about regimes of power that could be more edifying in the interlocking discursive terrain of the African cosmology, frequently disputed archeology of historical memory, socio-political relations, which are noticeable in discourses and gender politics. The study interrogates whether the Nehanda grand narrative is told by politicians as the revolutionary story of all citizens or not. If not, what alternative versions are proffered in selected Yvonne Vera and NoViolet Bulawayo’s literary texts? Arguably, the mythology of Nehanda in the chosen literary texts locates women as agents of revolution thereby generating semantic dissonance in the Zimbabwean context, which is largely considered as land of the Fathers. Contribution: The study situates the Nehanda narrative within contested terrains of national history, gender and religion in Zimbabwe’s transitional politics and literature. It concludes that in Vera and Bulawayo’s writings, the Nehanda narrative is deployed to interject significations of woman (hood) and nation (hood) which seek to marginalise some sections of the society. The dissonances embedded in the Nehanda narrative produce a dialoguing space that’ talks back’ and rebuts single storytelling. (shrink)

One of the first Swiss performance artists, Manon has fashioned a career for herself out of the identities of others. Whether exploring the limits of gender or the beauty of decay, Manon—through her personas, installations, and performance pieces—continually foregrounds the instability of place and self. Her most recent project, She Was Once MISS RIMINI, is one of her most brutal and touching. Here, she literally depicts imagined futures for an aging beauty queen. Each exquisite image in this pictorial essay teases (...) out the possible paths Miss Rimini—an alter-ego for Manon who “happened” upon a beauty pageant in the early 1970s and walked away with the crown—could have taken. A small-town diva? A hypersensitive viola player? Perhaps even a psychiatric patient? She Was Once MISS RIMINI is a trenchant meditation on the art, or artifice, of growing older. Costume, lipstick, lighting, attitude—all aspects of self-presentation are in concert here with quiet critiques of social and economic systems that limit the options of older women. Accompanied by an enlightening introduction by art theorist Brigitte Ulmer, She Was Once MISS RIMINI is the first and only documentation of Miss Rimini and one of the first books in English on Manon. (shrink)

For many, anger has been seen as irrationality, even as illness. But it seems that anger-related disorder and its culture-relatedness have not receive much attention in psychiatry. Like backward-looking ressentiment, hwabyeong 火病can be literally translated into anger disorder. In this paper, I examine the notion of anger and culture with the help of considering the case of hwabyeong as a Korean culture-bound syndrome (hereafter, CBS). Drawing on historical changes in the DSM (Diagnostic and Statistical Manual of Mental Disorders) and cases (...) of hwabyeong as CBS, I will argue that the social and cultural aspects of mental disorder are indispensable parts. Additionally, it will be suggested that the rigid distinction between CBS and mental disorders is questionable. First, I begin by examining Jarome Wakefield’s harmful dysfunction analysis and Ian Hacking’s social constructionism on mental disorder. Next, given that the illness is common among poor old women who suffered from patriarchal social structures, I question whether hwabyeong is really a culturally specific illness. Moreover, hwabyeong cannot be properly understood without considering unequal power relations and extremely limited ranges of one's agency. Thus, calling it culture- bound may be due to WEIRD-ish (Western, Educated, Industrialized, Rich, and Democratic), culturally stereotypical prejudice as well as misogynic thinking concerning hwabyeong. In present times, it's worth noting that, despite common biases, hwabyeong or han (恨) is no longer solely a Korean phenomenon, thanks to recent societal advancements. In conclusion, I show that curing hwabyeong or anger management is not just medical but sociopolitical matters. (shrink)

A reconsideration of the crucial historical role of slavery in the consolidation of the global regime of capital accumulation provides a vital source of Marxian critique for our postcolonial present. The Atlantic slave trade literally transformed African men and women into human commodities. The reduction of human beings into human commodities, or ‘human capital’ – indeed, into labour and nothing but labour – which was the very essence of modern slavery, served as a necessary prerequisite for the consolidation and perfecting (...) of what Marx called ‘labour in the abstract’, and requires us to re-situate enslaved labour as the defining and constitutive limit for how we comprehend labour as such under capitalism. The production of labour in the abstract, or labour ‘in general’, depended nonetheless upon concrete productions of sociopolitical difference, particularly the branding of race. The term ‘Black’, which was devised to literally and figuratively brand the flesh of enslaved people, was also contrived to signify their particular sociopolitical condition of brutal degradation as the ultimate limit for the subjugation of labour. Blackness names that limit. Thus, Blackness is in fact necessary for apprehending labour as such under capitalism. Marx’s scathing critique of wage labour is always haunted by the long shadow of slavery as its limit figure. If we comprehend labour to be the antithesis of capital, then to the extent that Blackness names the ultimate condition of labour’s subordination and subjection to capital, we need to recognise the tendency for all labour under capital to be pressed toward a sociopolitical condition of Blackness (or approximating Blackness), where Blackness does not name any kind of essential identity but the racialised sociopolitical condition of that subordination/subjection. Consequently, the labour theory of value – which has always been in fact, more accurately, a value theory of labour – must be complemented with what we might posit to be a racial theory of labour. Such an ostensibly historical perspective on the foundational role of slavery in the genesis of capitalism is no mere scholastic exercise in the historiography of ‘primitive accumulation’, however, but rather must be re-purposed toward the ends of elaborating what has remained an as-yet underdeveloped Marxian theory of migrant labour. Extrapolating key insights from Marx’s corpus for the formulation of a racial theory of labour, this essay is ultimately concerned with the ways that slavery supplies capitalism with a defining horizon for all labour, and thus how this insight might instructively serve to comprehend the racialised subordination of migrant labour within our global/postcolonial sociopolitical order. (shrink)

Drawing attention to the vexed relationship between feminist theory and philosophy, Is Feminist Philosophy Philosophy? demonstrates the spectrum of significant work being done at this contested boundary. The volume offers clear statements by seventeen distinguished scholars as well as a full range of philosophical approaches; it also presents feminist philosophers in conversation both as feminists and as philosophers, making the book accessible to a wide audience. -/- Table of Contents -/- Opening plenary: Drucilla Cornell, Jacques Derrida, and Teresa Brennan — (...) Discussion / Teresa Brennan ... et al. — Women, identity, and philosophy / Marjorie C. Miller — The personal is philosophical, or teaching a life and living the truth: philosophical pedagogy at the boundaries of self / Ruth Ginzberg — Musing as a feminist and as a philosopher on a postfeminist era / Patricia S. Mann — Essence against identity / Teresa Brennan — Feminist interpretations of social and political thought / Virginia Held — Mothers, citizenship, and independence: a critique of pure family values / Iris Marion Young — Domestic abuse and Locke's liberal (mis)treatment of family / Matthew R. Silliman — Marx, Irigaray, and the politics of reproduction / Alys Eve Weinbaum — The very idea of feminist epistemology / Lynn Hankinson Nelson — Can there be a feminist logic? / Marjorie Hass — Feminism and mental representation: analytic philosophy, cultural studies, and narrow content / David Golumbia — Replies to Hass and Columbia / Nickolas Pappas — Leaping ahead: feminist theory without metaphysics / Leslie A. MacAvoy — Philosophy abandons women: gender, orality, and some literate pre-Socratics / Cornelia A. Tsakiridou. (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

Despite criticism's collusion with Eliot, there are a number of incongruities between Wordsworth's ideas and Eliot's texts that do not seem to be simply differences, scenes and passages that Eliot invites her readers to find Wordsworthian while she indicates a significant pattern of divergence from Wordsworthian prototypes. The brotherly instructions that Eliot is most generally concerned at once to follow and to deny are contained in Wordsworth's wish, in the verse "Prospectus" to The Recluse, to see "Paradise, and groves/Elysian" be (...) "A simple produce of the common day" . But when she follows this wish literally, her "common day," the intensely social world of her novels, tests far more strenuously the adaptability of the paradisal vision than does anything Wordsworth wrote. The generic incompatibility between a poet's vision and the form of the novel may account for some of the obvious differences, yet, as I will try to suggest later, it may be that Eliot's choice of the realistic novel as the form for her vision is in part an effect, not a cause of her ambivalent divergences from Wordsworth .Margaret Homans, an assistant professor of English at Yale University, is the author of Women Writers and Poetic Identity: Dorothy Wordsworth, Emily Bronte, and Emily Dickinson. She is currently at work on a book of feminist criticism of Romanticism and Victorian fiction. (shrink)

The association of poetry and femininity … excluded women poets. For the female figures onto whom the men projected their artistic selves—Tennyson’s Mariana and Lady of Shalott, Browning’s Pippa and Balaustion, Arnold’s Iseult of Brittany—represent an intensification of only a part of the poet, not his full consciousness: a part, furthermore, which is defined as separate from and ignorant of the public world and the great range of human experience in society. Such figures could not write their own poems; the (...) male poet, who stands outside the private world of art, has to do that for them. The Lady of Shalott could not imagine someone complex and experienced enough to imagine the world beyond range of her windows, or to imagine her. A woman poet who identified herself with such a stock figure of intense and isolated art would hardly be able to write at all. Or, like the Lady of Shalott preparing her death-ship, she could write only her own name, only herself. For a man, writing poetry meant an apparent withdrawal from the public sphere , but for a woman it meant just the opposite: a move toward public engagement and self-assertion in the masculine world. She could not just reverse the roles in her poetry and create a comparable male self-projection, since the male in this set of opposites is defined as experienced, complexly self-conscious, and part of the public world and therefore could not serve as a figure for the poet. We can formulate the problem like this: a man’s poem which contains a female self-projection shows to distinctly different figures, poet and projection; in a woman’s poem on the same model, the two would blur into one.Furthermore, it’s not really poets that are women, for the Victorians: poems are women. The cliché that style is the man arises more readily and with much greater literalness and force when the stylist is a woman, and it is often charged with erotic intensity. The young lovers in Gilbert and Sullivan’s Iolanthe describe their perfect love by singing that he is the sculptor and she the clay, he the singer and she the song. Ladislaw in Middlemarch tells Dorothea that she needn’t write poems because she is a poem. Edgar Allan Poe remarks in a review of Barrett Browning’s works that “a woman and her book are identical.” In her love letters Barrett Browning herself worried about the problem of her identity—was she her poems, were they she, which was Browning in love with? “I love your verses with all my heart, dear Miss Barrett,” he had written disconcertingly in his first letter, “… and I love you too.” […] As we can see in Tennyson’s The Princess, the lyric in particular seemed female to Victorians—private, nonlogical, purely emotional—and it is surely no accident that large numbers of English and American women began to publish poetry in the nineteenth century, when the lyric established its dominance. Victorian poems like Victorian women were expected to be morally and spiritually uplifting, to stay mostly in the private sphere, and to provide emotional stimulus and release for overtasked men of affairs.9 All this may have encouraged women to write poetry, but at the same time it made writing peculiarly difficult because it reinforced the aspects of conventional Victorian femininity—narcissism, passivity, submission, silence—most inimical to creative activity. Since women already are the objects they try to create, why should they write? 9. John Woolford points this out in “EBB: Woman and Poet,” Browning Society Notes 9 : 4. Dorothy Mermin is professor and chairman in the department of English at Cornell University. She is the author of The Audience in the Poem and is currently working on a critical study of Elizabeth Barrett Browning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Erictho and Demogorgon: Poetry against Metaphysics DAVID QUINT Epic without the gods? The Roman poet Lucan (39–65 ce) created a secular counter-epic inside classical epic, removing the genre’s usual pantheon of Olympian deities and replacing them with Fortune. His Bellum civile (titled De bello civili in manuscripts, alternately titled Pharsalia) a poem about the conflict between Julius Caesar and Pompey, thereby delegitimizes the emperors who succeeded the dying Roman (...) republic, including Nero, the reigning emperor of Lucan’s day.1 They are not part of a divine plan: no such plan has ever existed. In an epic where the gods are silent or refuse to speak, Pompey’s son, Sextus, anxious to know the future, has to seek other means. In Book 6, he consults the Thessalian witch Erictho about the outcome of the approaching battle in Pharsalia. She reanimates the corpse of a dead soldier on Pompey’s republican side and makes it talk (BC 6.419–830).2 Lucan’s scene of necromancy gave birth to a major antimetaphysical strain in the European literary tradition. Among others, Dante, Cervantes, Marlowe, Spenser, Goethe, and Shelley confronted this episode of the Pharsalia and pondered its implications. Erictho’s magic is a figure for poetic making itself. It turns the supernatural into theater— the divine machinery of epic exposed as a deus ex machina— and these authors’ responses to Erictho will shift from epic into dramatic forms. In place of the gods, in place of the epic visit to the underworld, particularly in place of and in response to Aeneas’s trip to the realm of the dead arion 28.2 fall 2020 2 erictho and demogorgon in the corresponding Book 6 of the Aeneid, Lucan presents Erictho’s macabre performance: human witchcraft and intimations of an alternate, eerie numen residing in the earth, a force of nature. Subsequent readers would give this latter power a name: Demogorgon.3 Lucan links republicanism and freedom to a kind of atheism and to historical contingency. He unmasks and strips the props of religion from Caesarism and monarchy. (In vain for the poet: Lucan was forced to commit suicide in 65 ce, after he was implicated in the failed Pisonian conspiracy against Nero.) Lucan desacralizes poetry itself, which here confesses its limits, which are the limits of human mortality, even as Erictho seems, however briefly, to overcome them. No, poetry cannot literally raise the dead: it is a magic trick that makes the words on the page form into images, take life, and speak to us. Lucan answers the criticisms the philosopher and theologian make to poetry by openly acknowledging the false bottom of the hat from which poetry pulls its rabbits. It has no access to a real bottom, an underworld beyond death; it is all representation.4 The philosopher and the theologian may be poets no less than he is, but they do not want to know it, too busy, perhaps, in supporting tyranny over human minds and bodies. Plato and Augustine are two such critics on either historical side of Lucan, and they help us to understand the stakes of the Roman poet’s project. Both were dissatisfied with literature and they wanted to be something more than the great rhetoricians that they were. In the Symposium, Plato demystifies the archetypal myth of poetry, the singing of Orpheus that sought to bring Eurydice back from death: the gods sent Orpheus away from Hades empty-handed and showed him the mere shadow [eidolon] of the woman he had come to seek: Eurydice herself they would not let him take, because he seemed, like the mere minstrel that he was, to be a lukewarm lover, lacking the courage to die as Alcestis died for love, and choosing rather to scheme his way, living, into Hades. And it was for this that the gods doomed him, and doomed him justly, David Quint 3 to meet his death at the hands of women. (179d)5 Behind the words of his shallowly sentimental speaker Phaedrus we can detect Plato’s familiar hostility to poetry, his objection in Book 10 of the Republic that the poet merely imitates the appearances of things and is... (shrink)

Understanding the hadiths requires not only knowing the language well but also knowing the intention of the narrator, the environment and context in which the word is uttered. Furthermore, within a language, the presence of the words which have entirely disconnected from their real meaning due to the metaphoric and idiomatic use of them developed in time requires making more efforts to understand them. In this respect, the expression ‘Aqrā-Ḥalqā’ used by Prophet Muhammad (PBUH) for Ṣafiyya in the Farewell Sermon (...) when he was leaving Mecca, is mostly attributed to inauspiciousness and thus, requires special investigation. Determination of the correct meaning and use of the expression will prevent any misunderstanding. However, only the literal equivalences of the expression have been used in its annotations and translations until now. By including the annotations and translations of the expression in dictionaries and Ġarību'l- Ḥadīth books, which were written with a more specific purpose, this study aims to find the most suitable meaning by considering all these data and the data which compatible with the sunnah.Summary: Before the leaving of Prophet Muhammad after the Farewell Sermon, he learned that one of his wife Ṣafiyya is in her period (ḥayḍ). After hearing this, he used the expression ‘Aqrā-Ḥalqā’. These statements are not frequently used in the Arabic language. The expressions, which we encounter in some ancient Arab poems, were mentioned several times in some hadiths while narrating the stories of the past societies (ummah), and as far as we can see they were used only for Ṣafiyya by the Prophet. The reason for Prophet's expression was because after he was informed that Ṣafiyya was in period, he thought that she did not make the obligatory circumambulation. Depending on this, the Prophet thought that they could not returning to Medina immediately; thus, he said this word with the confusion and anxiety caused by the difficulty of staying in Mecca for a while with a crowded pilgrim group. With regard to the meaning of these words, both the diversity in the translations and some negative comments and inferences in the annotations, this study was written.There is a sufficient amount of information about the meanings of this expression in classical dictionaries and works such as Ġarību'l- Ḥadīth. These works state that they have meanings such as death, injury, infertility, illness, bad luck and mourning at the root of the words. Although the fundamental roots of the words have these meanings, the expressions have undergone a change and transformation. As with some other examples in the Arabic language, these words have lost their relevance for their meaning root gradually and have been used more often for astonishment. This information is included in both classical sources and contemporary studies on the subject.Despite the fact that the expression has become independent from their root meaning and has an astonishing sense used in case of confusion, negative emphasis comes to the fore both in Turkish translations and in some commentaries. In Turkish translations, the usages which are related directly to the word itself and emphasizing its meaning for bad luck are dominant, but sometimes translations that give the meaning of astonishment, sometimes translations that are not related to the word have been made, and sometimes they have been contented with latinizing the word instead of translation. Additionally, the malediction used in searching the correct meaning to the word leads to an emphasize toward negativity.While most of the annotations do not give much information about the expressions, it is seen that some authors give a negative meaning to the words and accordingly, they make a comparison between Ṣafiyya and ‘Ā’isha. Because of the special situation of ‘Ā’isha, she was upset that she could not make umrah and she conveyed this situation to our Prophet. Hence the Prophet produced a solution for her to complete her umrah. In the one hand, producing a solution to ‘Ā’isha by the Prophet and comforting her, on the other hand, his expression ‘Aqrā-Ḥalqā’ for Ṣafiyya in a similar situation led some scholars to conclude that Ṣafiyya was not as valuable as ‘Ā’isha in the eyes of the Prophet. However, this result is not acceptable. Although there is no evidence for this, in another annotation, it is conveyed that the Prophet had said these words to her by its meaning for “her tongue is long” because Ṣafiyya spoke to the Prophet with disrespect. Another commentary based on this promise makes the provision that a man can talk heavily to his wife when she delays something.The implications that depend on the assumption these words have negative meanings and produce results related to this assumption are incompatible with other data of circumcision. It could not be possible that the Prophet, who defended Ṣafiyya against the criticism against Ṣafiyya and who even guided him to defend himself, had a bad word for his wife. If the meaning of bad luck is given, then the Prophet will be the first person who disregards his own word “there is no bad luck”. Besides, the Prophet's good communication with the women in all areas of his life makes it impossible for him to say "damn" to one of his wives. It seems it is not logical for the Prophet to say this word to his wife, who is waiting in sorrow in front of his tent even after special worship Hajj.The translations, which are opposed to both the basic principles of religion and the guide life of Prophet, bring many problems. This translations, on the one hand, are drawing a portrait of a prophet who is intolerant to women and their specific situations, degrading women, and able to say rude and bad words whenever he wishes, on the other hand, are reflecting an image for the Prophet who does not comply with his own warnings. However, based on the information provided by the classical dictionaries, translations such as "Alas!" to indicate the magnitude and gravity of the situation that the word is currently facing, or "Wow!" to express the astonishment, will prevent all these negative consequences.As in many other fields, the translation of religious texts, especially hadiths, appears as an area that needs to be carefully considered in this regard. Thus, the expression ‘Aqrā-Ḥalqā’ was chosen as the main theme of this study. The translation of hadiths has an essential function and the only way for those who do not speak Arabic is to learn about the life of the Prophet. For this reason, one of the main results of the study is that only knowledge on grammar is not sufficient for the translation of the hadiths. On the contrary, the persons who will translate hadiths must have many competencies in the field such as the reasons for hadiths, their relationship with other hadiths, and understanding the hadith in line with the basic principles. Beyond this knowledge, it should be expected to master areas that require particular studies such as strange words in the language, meaningful constrictions, enlargements and shifts over time, proverbs and idiomatic expressions. Otherwise, it will be impossible to prevent a biased and wrong prophet representation. (shrink)