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A New Type of Womanhood
In A New Type of Womanhood, Natasha Kirsten Kraus retells the history of the 1850s woman’s rights movement. She traces how the movement changed society’s very conception of “womanhood” in its successful bid for economic rights and rights of contract for married women. Kraus demonstrates that this discursive change was a necessary condition of possibility for U.S. women to be popularly conceived as civil subjects within a Western democracy, and she shows that many rights, including suffrage, followed from the basic right to form legal contracts. She analyzes this new conception of women as legitimate economic actors in relation to antebellum economic and demographic changes as well as...
Show Me Where It Hurts
In Show Me Where It Hurts, Monica Chiu argues that graphic pathography—long-form comics by and about subjects who suffer from disease or are impaired—re-vitalizes and re-visions various negatively affected corporeal states through hand-drawn images. By the body and for the body, the medium is subversive and reparative, and it stands in contradistinction to clinical accounts of illness that tend to disembody or objectify the subject. Employing affect theory, spatial theory, vital materialism, and approaches from race and ethnic studies, women and gender studies, disability studies, and comics studies, Chiu provides readings of recently published graphic pathography. Chiu argues that these...
Mama's Boy
In postwar America, the discourse of Momism advanced the idea that an over-affectionate or too-distant mother hampers the social and psychosexual development of her children, in particular her sons. Deemed worst of all was the outcome of homosexuality, since the period saw an intense policing of sexual deviance. van den Oever zooms in on four instances of the cultural representation of Momism: The Grotto, by Grace Zaring Stone, Suddenly Last Summer, by Tennessee Williams, Alfred Hitchcock's Psycho, and Portnoy's Complaint, by Philip Roth, to offer new commentary on canonical texts, a particular moment in American culture, and future reading strategies.
Colonial Memory
Sarah De Mul is a Postdoctoral Fellow of the Research Foundation Flanders (FWO-Vlaanderen) in the Department of Literary Studies at the University of Leuven. Her publications and research interests are in the field of comparative postcolonial studies, with a particular focus on gender, memory, and empire in Neerlandophone and Anglophone literature.
Subjective Agency and Poststructuralism
Poststructuralism has long been acknowledged to offer a radical critique of the foundational subject as a precursor to affirming a constituted subject. Its detractors have however held that the resultant position cannot offer a coherent account of agency (strong version) or, alternatively, that while it may be able to account for non-subjective agency, it is unable to develop a coherent explanation for subjective agency (weak version). Somewhat strangely, this issue has been largely ignored by commentators predisposed to poststructuralist thought. In contrast, this volume focuses on the works of Judith Butler, Cornelius Castoriadis, Gilles Deleuze, Jacques Derrida, Michel Foucault, Luce Irig...
Legibility in the Age of Signs and Machines
Legibility in the Age of Signs and Machines offers a compelling reflection on what the notion of legibility entails in a machinic world in which any form of cultural expression – from literary texts, films, artworks and museum exhibits to archives, laws, computer programs and algorithms – necessarily partakes in ever-more complex processes of (mass) mediation. Divided over four clusters focusing on desire, justice, machine and heritage, the chapters in the volume explore what makes something legible or illegible to whom or, indeed, what; the kinds of reading, processing or navigating such il/legibility facilitates or forecloses; and the role critical (media) theory, literary studies and the Humanities in general can play in tackling these and related issues. Contributors: Ernst van Alphen, Anke Bosma, Siebe Bluijs, Sean Cubitt, Colin Davis, Katrine Dirckinck-Holmfeld, David Gauthier, Giovanna Fossati, Isabel Capeloa Gil, Pepita Hesselberth, Yasco Horsman, Janna Houwen, Looi van Kessel, Esther Peeren, Seth Rogoff, Roxana Sarion, Frederik Tygstrup, Inge van de Ven, Ruby de Vos, Peter Verstraten, Tessa de Zeeuw
How the Clinic Made Gender
"This timely history tells the story of how 'gender' was invented in American medicine. The concept of gender shifted from a pragmatic tool in the sex assignment of children with intersex traits in the 1950s to an essential category in clinics for transgender patients in the 1960s, to a feature of feminist debates about the sex/gender binary in the 1970s, to the word we know today. Our current idea of gender might not map exactly onto these earlier formulations, but we still live with the legacy of this genealogy. Sandra Eder reveals that there was-without a doubt- something new, transformative, and enduring about the concept of gender that developed through clinical practices at pediatric e...
Blue
A powerful look at the changing cultural understanding of postpartum depression in America. New motherhood is often seen as a joyful moment in a woman’s life; for some women, it is also their lowest moment. For much of the twentieth century, popular and medical voices blamed women who had emotional and mental distress after childbirth for their own suffering. By the end of the century, though, women with postpartum mental illnesses sought to take charge of this narrative. In Blue: A History of Postpartum Depression in America, Rachel Louise Moran explores the history of the naming and mainstreaming of postpartum depression. Coalitions of maverick psychiatrists, psychologists, and women who...
Their Own Best Creations
A rich account that combines media-industry history and cultural studies, Their Own Best Creations looks at women writers' contributions to some of the most popular genres of postwar TV: comedy-variety, family sitcom, daytime soap, and suspense anthology. During the 1950s, when the commercial medium of television was still being defined, women writers navigated pressures at work, constructed public personas that reconciled traditional and progressive femininity, and asserted that a woman's point of view was essential to television as an art form. The shows they authored allegorize these professional and personal pressures and articulate a nascent second-wave feminist consciousness. Annie Berke brings to light the long-forgotten and under-studied stories of these women writers and crucially places them in the historical and contemporary record.
New Germans, New Dutch
In today’s globalized world, traditions of a national Self and a national Other no longer hold. This timely volume considers the stakes in our changing definitions of national boundaries in light of the unmistakable transformation of German and Dutch societies. Examining how the literature of migration intervenes in public discourses on multiculturality and including detailed analysis of works by the Turkish-German writers Emine Sevgi Özdamer and Feridun Zaimoglu and the Moroccan-Dutch writers Abdelkader Benali and Hafid Bouazza, New Germans, New Dutch offers crucial insights into the ways in which literature negotiates both difference and the national context of its writing.
