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The Male Chauvinist Pig
In the social upheavals of the 1960s and 1970s, a series of stock characters emerged to define and bolster white masculinity. Alongside such caricatures as "the Playboy" and "the Redneck" came a new creation: "the Male Chauvinist Pig." Coined by second-wave feminists as an insult, the Male Chauvinist Pig was largely defined by an anti-feminism that manifested in boorish sexist jokes. But the epithet backfired: being a sexist pig quickly transformed into a badge of honor worn proudly by misogynists, and, in time, it would come to define a strain of right-wing politics. Historian Julie Willett tracks the ways in which the sexist pig was sanitized by racism, popularized by consumer culture, weaponized to demean feminists, and politicized to mobilize libertine sexists to adopt reactionary politics. Mapping out a trajectory that links the sexist buffoonery of Bobby Riggs in the 1970s, the popularity of Rush Limbaugh's screeds against "Feminazis" in the 1990s, and the present day misogyny underpinning Trumpism, Willett makes a case for the potency of this seemingly laughable cultural symbol, showing what can happen when we neglect or trivialize the political power of humor.
Permanent Waves
Throughout the twentieth century, beauty shops have been places where women could enjoy the company of other women, exchange information, and share secrets. The female equivalent of barbershops, they have been institutions vital to community formation and social change. But while the beauty shop created community, it also reflected the racial segregation that has so profoundly shaped American society. Links between style, race, and identity were so intertwined that for much of the beauty shop's history, black and white hairdressing industries were largely separate entities with separate concerns. While African American hair-care workers embraced the chance to be independent from white contro...
Uproarious
"Placing theorists in conversation with comedians, Uproarious offers a full-frontal approach to the very foundation of comedy and its profound political impact. Here Cynthia Willett and Julie Willett address the four major theories of humor—superiority, relief, incongruity, and social play—through the lens of feminist and game-changing comics Wanda Sykes, Margaret Cho, Hannah Gadsby, Hari Kondabolu, and Tig Notaro."--
The Songbird
Can new hopes bloom when summer begins again? When Mattie invites her old friend Tim to stay in one of her family cottages on the edge of Dartmoor, she senses there is something he is not telling her. But as he gets to know the rest of the warm jumble of family by the moor, Tim begins to relax again and he discovers that everyone there has their own secrets. There is Kat, a retired ballet dancer who longs for the stage again; Charlotte, a young navy wife struggling to bring up her son while her husband is at sea; William, who guards a dark past he cannot share with the others; and Mattie . . . who has loved Tim in silence for years. As Tim begins to open up, Mattie falls deeper in love. And as summer warms the wild Dartmoor landscape, new hopes begin to bloom . . . If you like books by Lucy Diamond, Trisha Ashley and Carole Matthews, you'll love Marcia Willett's gloriously warm novels set in the West Country.
Interspecies Ethics
Interspecies Ethics explores animals' vast capacity for agency, justice, solidarity, humor, and communication across species. The social bonds diverse animals form provide a remarkable model for communitarian justice and cosmopolitan peace, challenging the human exceptionalism that drives modern moral theory. Situating biosocial ethics firmly within coevolutionary processes, this volume has profound implications for work in social and political thought, contemporary pragmatism, Africana thought, and continental philosophy. Interspecies Ethics develops a communitarian model for multispecies ethics, rebalancing the overemphasis on competition in the original Darwinian paradigm by drawing out and stressing the cooperationist aspects of evolutionary theory through mutual aid. The book's ethical vision offers an alternative to utilitarian, deontological, and virtue ethics, building its argument through rich anecdotes and clear explanations of recent scientific discoveries regarding animals and their agency. Geared toward a general as well as a philosophical audience, the text illuminates a variety of theories and contrasting approaches, tracing the contours of a postmoral ethics.
Irony in the Age of Empire
Comedy, from social ridicule to the unruly laughter of the carnival, provides effective tools for reinforcing social patterns of domination as well as weapons for emancipation. In Irony in the Age of Empire, Cynthia Willett asks: What could embody liberation better than laughter? Why do the oppressed laugh? What vision does the comic world prescribe? For Willett, the comic trumps standard liberal accounts of freedom by drawing attention to bodies, affects, and intimate relationships, topics which are usually neglected by political philosophy. Willett's philosophical reflection on comedy issues a powerful challenge to standard conceptions of freedom by proposing a new kind of freedom that is unapologetically feminist, queer, and multiracial. This book provides a wide-ranging, original, thoughtful, and expansive discussion of citizenship, social manners, and political freedom in our world today.
Digital Generations
Computer games, the Internet, and other new communications media are often seen to pose threats and dangers to young people, but they also provide new opportunities for creativity and self-determination. As we start to look beyond the immediate hopes and fears that new technologies often provoke, there is a growing need for in-depth empirical research. Digital Generations presents a range of exciting and challenging new work on children, young people, and new digital media. The book is organized around four key themes: Play and Gaming, The Internet, Identities and Communities Online, and Learning and Education. The book brings together researchers from a range of academic disciplines – including media and cultural studies, anthropology, sociology, psychology and education – and will be of interest to a wide readership of researchers, students, practitioners in digital media, and educators.
Shapers of Worlds
Within these pages lie eighteen stories, from eighteen worlds shaped by some of today’s best writers of science fiction and fantasy, all guests on the Aurora Award-winning podcast The Worldshapers during its first year. Some are international bestsellers. Among them are winners and nominees for the Hugo, Nebula, World Fantasy, Aurora, Sunburst, Aurealis, Ditmar, British Science Fiction Association, and Dragon Awards. Some have been writing for decades, others are at the beginning of their careers. All have honed their craft to razor-sharpness. A teenage girl finds something strange in the middle of the Canadian prairie. An exobiologist tries to liberate a giant alien enslaved on its homewo...
Philosophical Feminism and Popular Culture
The eight essays contained in Philosophical Feminism and Popular Culture explore the portrayal of women and various philosophical responses to that portrayal in contemporary post-civil rights society. The essays examine visual, print, and performance media—stand-up comedy, movies, television, and a blockbuster trilogy of novel. These philosophical feminist analyses of popular culture consider the possibilities, both positive and negative, that popular culture presents for articulating the structure of the social and cultural practices in which gender matters, and for changing these practices if and when they follow from, lead to, or perpetuate discrimination on the basis of gender. The essays bring feminist voices to the conversation about gender and attests to the importance of feminist critique in what is sometimes claimed to be a post-feminist era.
We Feel Good Out Here
Julie-Ann Andre is a Gwichya Gwich'in from Tsiigehtchic in the Northwest Territories. She is a Canadian Ranger, a mother of twin daughters, a hunter, a trapper, and a student. In We Feel Good Out Here, Julie-Ann shares her family's story and the story of her land Khaii luk, the place of winter fish. As Julie-Ann says, "The land has a story to tell, if you know how to listen. When I travel, the land tells me where my ancestors have been. It tells me where the animals have come and gone, and it tells me what the weather may be like tomorrow." Her home is an important part of who Julie-Ann is. She wants to help make sure that her environment is healthy, so it can continue to tell its story to her children and their children.
