The Future in Feminism : Reading Strategies for Feminist Theory And

Total Page:16

File Type:pdf, Size:1020Kb

The Future in Feminism : Reading Strategies for Feminist Theory And Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 The future in feminism : reading strategies for feminist theory and science fiction Alcena Madeline Davis Rogan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Rogan, Alcena Madeline Davis, "The future in feminism : reading strategies for feminist theory and science fiction" (2002). LSU Doctoral Dissertations. 2450. https://digitalcommons.lsu.edu/gradschool_dissertations/2450 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE FUTURE IN FEMINISM: READING STRATEGIES FOR FEMINIST THEORY AND SCIENCE FICTION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Alcena Madeline Davis Rogan B.A., Sarah Lawrence College, 1995 M.A., Louisiana State University, 1997 May 2002 DEDICATION For my dear late mother Ama “Sugah” Ford Darr Norfleet Rogan ii ACKNOWLEDGEMENTS I would like to gratefully acknowledge the following individuals for their valuable contributions to this project: Michelle Massé, my dissertation committee chair, mentor, and friend; dissertation committee members Elsie Michie, Patrick McGee, and Devoney Looser; supportive LSU faculty members Carl Freedman, Sharon Weltman, John Fischer, Anna Nardo, Malcolm Richardson, James Olney, Renee Major, Nona Haynes, Sarah Liggett, Jim Borck, and John Lowe; my wonderful husband Robert Eldreth McDonald; my supportive peers Andrea Adolph, Robin Becker, Anne-Marie Thomas, Josh Kizner, Janet Barnwell, Daniel Gonzalez, Paul Graham, Sharon Andrews, Brad Bankston, Beth Younger, Maxine Beach, and Margaret Clark; dear and helpful friends Lucia Blacksher, Reece Walker, Laurel Keyes, Kettye Voltz, Alexis Avery, Kim Guise, Astrid Persans, Io McNaughton, Marleen Barr, Darko Suvin, and Elizabeth Underwood; my sister Ama Ford Darr Rogan; my brothers Davis Moody Emerson Rogan and John Michael Sims Rogan; my half-sisters Jessica and Amanda White; my late grandmothers Ama “Punkin” Neal and Muriel Rogan; my faithful four-legged companion Jane Rogan; and finally, my aunts Margaret Darr and Cara Sims. iii TABLE OF CONTENTS DEDICATION………………………………………………………….. ii ACKNOWLEDGEMENTS……………………………………………... iii ABSTRACT…………………………………………………………….. v INTRODUCTION……………………………………………………….. 1 CHAPTER ONE The Politics of ‘Sex’: The Difference That Difference Makes………... 16 CHAPTER TWO The Politics of Biotechnology and the Discursivity of ‘Sex’: The Female Body as a Science-Fictional/Factual Text……………………… 65 CHAPTER THREE Alien Sex Acts in Feminist SF: Heuristic Models for Thinking a Feminist Future of Desire………………………………………..113 CHAPTER FOUR Feminist SF on Race: The Legacies of the Past……………………….. 147 CHAPTER FIVE Alienation and Estrangement in Marx and SF: A Feminist Analysis…………………………………………….. 188 VITA……………………………………………………………………… 224 iv ABSTRACT Contemporary feminist theory, especially in its more dialectical manifestations, is read in this study as describing a relationship between present and future. In this reading, the work of feminist theory contains a “present;” that is, an articulation of the specific problem or question that it addresses. The work of feminist theory also contains a “future,” either implicit or explicit, and often both. An explicit “future” in feminist theory states a praxis-model or specific call-to-arms that claims political effectuality; claims that its implementation might help to ameliorate, in some way, the status quo of sexual politics. An implicit “future” in feminist theory is a more direct articulation of a praxis-model through its implementation within the work itself. In this case, the theory works as a heuristic device by enacting the critique that it suggests. For example, a work of feminist literary criticism might posit a mode of textual critique that it then implements by reading a given text in the suggested mode. The “future” in such a theoretical work is the implication that the enacted mode of critique is a praxis-model for further implementation. This study examines feminist theoretical work from the 1950s to the present, with an analytical emphasis on the ways in which the present/future dialectic operates in its structures and claims. I team this analysis with readings of feminist SF. Feminist SF speculates on the potential outcomes of women’s struggles with the oppressions of various ideological regimes, such as sexism, classism, and racism. The dialectical tension between present and future is a thematic concern and a structural feature of most feminist SF. I examine feminist SF that engages some of contemporary feminist theory’s presuppositions and positions. This study includes analyses of the theoretical work of Simone de Beauvoir, Juliet Mitchell, Kate Millett, Shulamith v Firestone, Katherine Hayles, Nancy Chodorow, Angela Davis, Audre Lorde, Teresa de Lauretis, and many others. This study also includes analyses of the feminist science fictional work of Ursula LeGuin, Samuel Delany, Octavia Butler, Monique Wittig, Angela Carter, James Tiptree (Alice Sheldon), Tananarive Due, Nalo Hopkinson, Rebecca Ore, and Nicola Griffith, among others. vi Introduction “I shall speak about women’s writing: about what it will do [. .]. Anticipation is imperative” (875). Hélène Cixous, “The Laugh of the Medusa” “The political value of literary texts from the standpoint of feminism can be determined only by an investigation of their social functions and effects in relation to the interests of women in a particular historical context, and not by attempting to deduce an abstract literary theory of ‘masculine’ and ‘feminine,’ ‘subversive’ and ‘reactionary’ forms in isolation from the social conditions of their production and reception” (2). Rita Felski, Beyond Feminist Aesthetics Feminist theory, especially in its more dialectical manifestations, can be read as describing a relationship between present and future. In this reading, the work of feminist theory contains a “present;” that is, an articulation of the specific problem or question that it addresses. The work of feminist theory also contains a “future,” either implicit or explicit, and often both. An explicit “future” in feminist theory states a praxis- model or a specific call-to-arms that claims political effectuality; claims that its implementation might help to ameliorate, in some way, the status quo of sexual politics. An implicit “future” in feminist theory is a more direct articulation of a praxis-model through its implementation within the work itself. In this case, the theory works as a heuristic device by enacting the critique that it suggests. For example, a work of feminist literary criticism might posit a mode of textual critique that it then implements by reading a given text or texts in the suggested mode. The “future” in such a theoretical work is the implication that the enacted mode of critique is a praxis-model for further implementation. But why read feminist theory as a present/future dialectic? If it is true that some feminist theory can be read in this manner, it is also true that other forms of theory can be 1 read in this manner as well. So, beyond the fulfillment of my own interest in feminist theory in particular, what is it about “the future in feminism” that deserves scrutiny and analysis? In academic feminist criticism there has always been a high degree of focus on the relationship between feminist scholarship and its relevance to the experiential. This focus has played a large part in shaping some of feminist scholarship’s major debates: essentialism and constructivism, practice and theory, radicalism and institutionalization, dialectical critique and deconstructive critique. All of these debates address the relationship between a putatively concrete term and an abstract one, between practice and theory, ontology and epistemology. All of these debates can also be seen as problematizations of the “present/future” relationship that I describe above: they all address the question of what, in echo of the passage by Cixous quoted above, feminist theory will do. Thus feminist theory seems, like other theoretical modes that, as SF critic Veronica Hollinger puts it, “insist on re-inserting the object of study back into the world,” (“Contemporary Trends” 253), to have a preoccupation with the future—with the viability of its applications to the world of lived relations. This study examines feminist theoretical work from the second wave to the present, with an analytical emphasis on the ways in which the present/future dialectic operates in its structure and claims. I team this analysis with readings of feminist science fiction. Feminist SF speculates on the potential outcomes of women’s struggles with the oppressions of various ideological regimes, such as sexism, classism, and racism. The dialectical tension between present and future is a thematic concern and a structural feature of most feminist SF. I examine feminist SF that either implicitly or explicitly engages feminist theory’s presuppositions
Recommended publications
  • 1 GOV 1029 Feminist Political Thought TIMES to BE CONFIRMED
    GOV 1029 Feminist Political Thought TIMES TO BE CONFIRMED: provisionally, Tuesday 1:30-2:45, Thursday TBC Fall Semester 2020 Professor Katrina Forrester Office Hours: TBC E-mail: [email protected] Teaching Fellows: Celia Eckert, Soren Dudley, Kierstan Carter, Eve O’Connor Course Description: What is feminism? What is patriarchy? What and who is a woman? How does gender relate to sexuality, and to class and race? Should housework be waged, should sex be for sale, and should feminists trust the state? This course is an introduction to feminist political thought since the mid-twentieth century. It introduces students to classic texts of late twentieth-century feminism, explores the key arguments that have preoccupied radical, socialist, liberal, Black, postcolonial and queer feminists, examines how these arguments have changed over time, and asks how debates about equality, work, and identity matter today. We will proceed chronologically, reading texts mostly written during feminism’s so-called ‘second wave’, by a range of influential thinkers including Simone de Beauvoir, Shulamith Firestone, bell hooks and Catharine MacKinnon. We will examine how feminists theorized patriarchy, capitalism, labor, property and the state; the relationship of claims of sex, gender, race, and class; the development of contemporary ideas about sexuality, identity, and gender; and how and whether these ideas change how fundamental problems in political theory are understood. 1 Course Requirements: Undergraduate students: 1. Participation (25%): a. Class Participation (15%) Class Participation is an essential part of making a section work. Participation means more than just attendance. You are expected to come to each class ready to discuss the assigned material.
    [Show full text]
  • Remarks by Redstockings Speaker Marisa Figueiredo Shulamith Firestone Memorial September 23, 2012
    Remarks by Redstockings speaker Marisa Figueiredo Shulamith Firestone Memorial September 23, 2012 In 1978, at the age of 16, while In high school, I lived in Akron, Ohio. I went to to the public library on weekends and on one shelf were three books in a row that changed my life forever and are the reason I am here today: Simone de Beauvoir's The Second Sex, Shulamith Firestone's The Dialectic of Sex The Case for Feminist Revolution, and Redstockings' Feminist Revolution. With my consciousness raised to the point of passionately identifying myself as a radical feminist in the tradition each book represented, I ardently wanted to connect with Shulamith Firestone and Redstockings , so I wrote to both. I heard back from Redstockings, not Shulamith, and since 1984, I have been active in Redstockings. On May Day in 1986, Redstockings organized a Memorial for Simone de Beauvoir and I felt deeply honored when asked by Kathie Sarachild to read Shulamith's Firestone's tribute she had sent to the Memorial. It was several sentences in Shulamith's beautiful handwriting saying that Simone de Beauvoir had fired her youthful ambitions at age 16 and my heart was pounding as I read it, because Shulamith had fired my youthful ambitions at age 16, too! In the early 1990s, Kathie Sarachild introduced me to Shulamith Firestone, and I remember immediately feeling Shulamith's intensity of observation and perception of details unnoticed by others. All this despite her physical vulnerability that overwhelmed me, which I soon learned from her, resulted from side effects of her medication and a recent hospitalization.
    [Show full text]
  • The Imagined Wests of Kim Stanley Robinson in the "Three Californias" and Mars Trilogies
    Portland State University PDXScholar Urban Studies and Planning Faculty Nohad A. Toulan School of Urban Studies and Publications and Presentations Planning Spring 2003 Falling into History: The Imagined Wests of Kim Stanley Robinson in the "Three Californias" and Mars Trilogies Carl Abbott Portland State University, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/usp_fac Part of the Urban Studies and Planning Commons Let us know how access to this document benefits ou.y Citation Details Abbott, C. Falling into History: The Imagined Wests of Kim Stanley Robinson in the "Three Californias" and Mars Trilogies. The Western Historical Quarterly , Vol. 34, No. 1 (Spring, 2003), pp. 27-47. This Article is brought to you for free and open access. It has been accepted for inclusion in Urban Studies and Planning Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Falling into History: The ImaginedWests of Kim Stanley Robinson in the "Three Californias" and Mars Trilogies Carl Abbott California science fiction writer Kim Stanley Robinson has imagined the future of Southern California in three novels published 1984-1990, and the settle ment of Mars in another trilogy published 1993-1996. In framing these narratives he worked in explicitly historical terms and incorporated themes and issues that characterize the "new western history" of the 1980s and 1990s, thus providing evidence of the resonance of that new historiography. .EDMars is Kim Stanley Robinson's R highly praised science fiction novel published in 1993.1 Its pivotal section carries the title "Falling into History." More than two decades have passed since permanent human settlers arrived on the red planet in 2027, and the growing Martian communities have become too complex to be guided by simple earth-made plans or single individuals.
    [Show full text]
  • Materialist Feminism
    9­ / MATERIALIST FEMINISM A Reader in Class, Difference, and Women's Lives Edited by Rosemary Hennessy and Chrys Ingraham ROUTLEDGE New York & London Introduction Reclaiming Anticapitalist Feminism Rosemary Hennessy and Chrys Ingraham THE NEED FOR ClASS ANALYSIS OF WOMEN'S DIFFERENT LIVES We see this reader as a timely contribution to feminist struggle for transformative social change, a struggle which is fundamentally a class war over resources, knowledge, and power. Currently the richest 20 percent of humanity garners 83 percent of global income, while the poorest 20 percent of the world's people struggles to survive on just 1 percent of the global income (Sivard 1993; World Bank 1994). During the 1990s, as capitalism triumphantly secures its global reach, anticommunist ideologies hammer home socialism's inherent failure and the Left increasingly moves into the professional middle class. many of western feminism's earlier priorities-commitment to social transformation, attention to the political economy of patriarchy, analysis of the perva­ sive social structures that link and divide women~have been obscured or actively dismissed. Various forms of feminist cultural politics that take as their starting point gender, race, class, sexuality, or coalitions among them have increasingly displaced a systemic perspective that links the battle against women's oppression to a fight against capitalism. The archive collected in Materialist Feminism: A Reader in Class, Difference, and Women's Lives is a reminder that despite this trend feminists have continued to find in historical materialism a powerful theoretical and political resource. The tradi- . tion of feminist engagement with marxism emphasizes a perspective on social life that refuses to separate the materiality of meaning, identity, the body, state, or nation from the requisite division of labor that undergirds the scramble for profits in capitalism's global system.
    [Show full text]
  • WGSS Draft Syllabus 692B Spring 2013 Ann Ferguson
    WGSS syllabus 692C Spring 2013 Topics in Feminist Theory Professor emerita Ann Ferguson Tuesdays 4-6:30 Office hours Tues 2:30-3:30, 229 Middlesex House and by appointment [email protected] Texts (available at Food for Thought Books in Amherst) 1. Linda Nicholson, ed. (1997)The Second Wave: A Reader in Feminist Theory (Routledge) 2. Rosemary Hennessy (2000) Profit and Pleasure: Sexual Identities in Late Capitalism (Routledge) 3. Rachel Alsop, Annette Fitzsimmons and Kathleen Lennon (2002) Theorizing Gender (Polity) Optional: Silvia Federici (2004) Caliban and the Witch: Women and Primitive Accumulation (Autonomedia) Eva Illouz (2012) Why Love Hurts: A Sociological Explanation (Polity) Other readings for the course available on UMass UDrive (www. udrive.oit.umass.edu/xythoswfs/webview/xythoslogin.action, password given in seminar) Class Requirements and Grading Policies There are 3 components through which the course will be graded: class participation, which includes a class report, short paper, and final term paper. The work done by each student for each of these components will be weighted as follows: class participation (including class report) 30%, short paper 30%, and final term paper 40%. A. Class Participation (30%): (1) All students will be expected to do the reading before the class for which they are assigned and to contribute to the discussion about them. This will include posting discussion questions on something in the reading for the week suitable for a class discussion. These questions should be clarified by several lines which locate the issue in the reading. They should be posted by noon Monday of the day before the seminar!! (2) The class report may done with a partner, and be chosen at the beginning of the seminar.
    [Show full text]
  • Michael Craig-Martin Present Tense
    Michael Craig-Martin Present Tense Exhibition 26 August - 5 November 2016 MICHAEL CRAIG-MARTIN Wir freuen uns ausserordentlich Michael Craig-Martins mit seinen neusten Werken mit einer Einzelausstellung in Zürich zu würdigen und möchten ihm herzlich zu seiner Erhebung in den Ritterstand als Anerkennung für seine „Dienste an die Kunst“ gratulieren. Der britische Künstler Michael Craig-Martin, der bereits im Jahr 2000 von der englischen Königin zum Commander des Britischen Empires (CBE) ernannt wurde, erschien auf der diesjährigen Liste der Ehrungen, die zum Geburtstag der Königin veröffentlich wurde. Diese Anerkennung setzt ein ganz besonderes Highlight in einem sehr ereignisreichen und erfolgreichen Jahr. In den letzten zwölf Monaten war Craig-Martin Thema von zwei grossen, internationalen Einzelausstellungen. Nebst einer Wanderausstellung in den bedeutendsten chinesischen Museumsmetropolen war Craig-Martin 2015 auch in einer grossen Solo-Ausstellung in der Serpentine Gallery in London präsent. Im letzten Jahr erschien zudem Craig-Martins erstes Buch „On Being an Artist“ und er hatte die Ehre als Hauptkoordinator die 2015 Royal Academy Summer Exhibition zu eröffnen. Craig- Martins Arbeit ist derzeit in Gruppenausstellungen in der Tate Britain, Royal Academy und dem Founding Museum in London zu sehen. Eine Begegnung mit den Werken von Michael Craig-Martin ist eine Begegnung mit dem eigenen Alltag der gelebten, von Werbung überhöhten Lebenskultur. Daher auch der vom Künstler gewählte Titel der Ausstellung Present Tense „aktuelle Zeit“. Es liegt eine kühne Raffinesse darin, unscheinbare Utensilien zu Zeitzeugen zu erheben. Spätestens, wenn man im Frühjahr seine grossartige Ausstellung in der Serpentine Gallery in London gesehen hat, kann man sich der Faszination seines Werkes nicht mehr entziehen.
    [Show full text]
  • 1 Science Fiction As a Worldwide Phenomenon
    PROCEEDINGS, COINs13 SCIENCE FICTION AS A WORLDWIDE PHENOMENON: A STUDY OF INTERNATIONAL CREATION, CONSUMPTION AND DISSEMINATION Elysia Celeste Wells Savannah College of Art and Design 342 Bull St Savannah, GA 31402 USA e-mail: [email protected] ABSTRACT Companion to Science Fiction almost exclusively This paper examines the international nature of focuses on American science fiction (James & science fiction. The focus of this research is to Mendlesohn, 2003). Julies Verne is one of the few determine whether science fiction is primarily non-English speaking authors to be named in many English speaking and Western or global; being of the books reviewed for this research. (Clarke, created and consumed by people in non-Western, 1999; James & Mendlesohn, 2003; Kelly et al., non-English speaking countries? Science fiction's 2009, p. 10). Does this mean that science fiction is international presence was found in three ways, by a genre that is found primarily in the English network analysis, by examining a online retailer speaking West2 or are there science fiction stories and with a survey. Condor, a program developed being written all around the world that simply have by GalaxyAdvisors was used to determine if not been addressed by the reviewed literature? science fiction is being talked about by non-English speakers. An analysis of the international Amazon.com websites was done to discover if it Literature Review was being consumed worldwide. A survey was In an essay written by James Gunn for World also conducted to see if people had experience with Literature Today he states that "American science science fiction.
    [Show full text]
  • Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction.
    [Show full text]
  • Science Fiction in Nanotechnology
    Bridging the Gaps: Science Fiction in Nanotechnology José López Abstract: This paper argues that narrative elements from the science fiction (SF) literary genre are used in the discourse of Nanoscience and Technology (NST) to bridge the gap between what is technically possible today and its in- flated promises for the future. The argument is illustrated through a detailed discussion of two NST texts. The paper concludes by arguing that the use of SF narrative techniques poses serious problems to the development of a criti- cal analysis of the ethical and social implications of NST. Keywords : nanoscience and technology , ethical and social implications , science fiction , extrapolation . 1. Introduction 1 In 1997, Francis Collins, the spokesperson for the US Human Genome Pro- ject (HGP), claimed that, “the project’s Ethical, Legal and Social Implications (ELSI) program [was] unique among technology programs in its mandate to consider and deal with these issues alongside the development of the tech- nology” (cited in McCain 2003, p. 112). Recent assessments of its impact have been far from celebratory ( e.g. Evans 2002, Huijer 2003, McCain 2003). Indeed, it is claimed that the ELSI program insulated the HGP from criticism rather than facilitating negotiations between scientists and non-scientists (Huijer 2003, p. 488). Against this background, when Mihail Roco, a key promoter of nanosci- ence and technology (NST) 2 in the U.S. and director of the National Nano- technology Initiative (NNI), claims that societal implications have been an integral component of the NNI from the start and argues that the National Science Foundation (NSF) “has made support for social, ethical and econom- ic research studies a priority” (Roco 2003a, p.
    [Show full text]
  • Gerhard Richter
    GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs,
    [Show full text]
  • Bridget Riley Born 1931 in London
    This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts
    [Show full text]
  • New Cultural Models in Women-S Fantasy Literature Sarah Jane Gamble Submitted for the Degree of Doctor of Philosophy University
    NEW CULTURAL MODELS IN WOMEN-S FANTASY LITERATURE SARAH JANE GAMBLE SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SHEFFIELD, DEPARTMENT OF ENGLISH LITERATURE OCTOBER 1991 NEW CULTURAL MODELS IN WOMEN'S FANTASY LITERATURE Sarah Jane Gamble This thesis examines the way in which modern women writers use non­ realistic literary forms in order to create new role models of and for women. The work of six authors are analysed in detail - Angela Carter, Doris Lessing, Margaret Atwood, Ursula Le Guin, Joanna Russ and Kate Wilhelm. I argue that they share a discontent with the conventions of classic realism, which they all regard as perpetuating ideologically-generated stereotypes of women. Accordingly, they move away from mimetic modes in order to formulate a discourse which will challenge conventional representations of the 'feminine', arriving at a new conception of the female subject. I argue that although these writers represent a range of feminist responses to the dominant order, they all arrive at a s1mil~r conviction that such an order is male-dominated. All exhibit an awareness of the work of feminist critics, creating texts which consciously interact with feminist theory. I then discuss how these authors use their art to examine the their own situation as women who write. All draw the attention to the existence of a tradition of female censorship, whereby the creative woman has experienced, in an intensified form, the repreSSion experienced by all women in a culture which privileges the male over the female. All these writers exhibit a desire to escape such a tradition, progressing towards the formulation of a utopian female subject who is free to be fully creative a project they represent metaphorically in the form of a quest.
    [Show full text]