Legal judgment writing mobilises a process of story-telling, drawing on existing judicial discourses, precedents and practices to create a narrative relevant to the specific case that is articulated by the presiding judge. In the Feminist Judgments projects feminist scholars and activists have sought to challenge and reinterpret legal judgments that have disadvantaged, discriminated against or denied women’s experiences. This paper reflects on the process of writing as a feminist judge in the Australian Project, in an intimate homicide case, R v (...) Middendorp. Drawing on the work of Judith Butler on intelligibility, iterability and the communality of violence and vulnerability, this article argues that feminist judgments necessarily require some uncomfortable compromises with unjust gendered institutions. While ‘donning the robes’ may be an uncomfortable process, a feminist re-articulation of the law’s carceral power serves to unsettle and challenge some aspects of gendered oppression, even though it cannot unsettle the operation of the institution. The article concludes that effective feminist interventions by members of the judiciary may require donning robes that are not entirely comfortable in order to persuade and advocate for change. (shrink)

In recent years, feminist theorists have examined the use of visual technologies in pregnancy and argued that these technologies are reconstructing the meaning of pregnancy. The imaged body of gestation can be deployed to distinguish and separate maternal and foetal interests. Drawing on this work, ‘Visibly Pregnant: Toward a placental body’ argues that the use of visual technology also obfuscates that which it purports to make clear. The images produced by these technologies in particular do not locate and acknowledge the (...) significance of the placenta as a point of connection and distinction for the gestating body. The possibilities suggested by a concentration on the placenta show how the morphology of the pregnant body itself rejects the distinction outlined in the technologically produced images of pregnancy and offers some new possibilities for thinking subjectivity. (shrink)

The visibility of pregnancy in contemporary societies through various forms of medical imaging has often been interpreted by feminist critics as negative for the autonomy and experience of pregnant women. Here, I consider the representation of pregnancy in Virginia Woolf’s novel, Orlando, and Sally Potter’s film of the same name arguing that, despite limited critical attention to Orlando’s pregnancy, these texts offer a productive interpretation of gestation that counters conventionally reductive cultural images of that embodied state. In particular, I argue (...) that Potter’s translation of Woolf’s novel to the screen gives us a useful model for thinking through the new visibility of pregnancy in contemporary Western culture. (shrink)