#feminist-writing

#feminist-writing

The deeper I go, the more feminist I become! Yet my experience of academic philosophy has largely disclosed the opposite: a discipline that solemnly declares its devotion to openness proves curiously unsettled by me as a woman.

The library was to hold material relating to women's work, too. This year's centenary is an opportunity to celebrate the institution's unique holdings.

A vision lay before him: Fleet Street blanketed with snow, silent, empty, pure white, and, at the end of it, the huge and majestic form of Saint Paul's Cathedral. It was a spellbinding moment: the great thoroughfare temporarily devoid of carts and carriages, the cathedral looming blurrily out of the still-falling snowflakes a real-life snow globe.

On the page, we have total control - we see what's happening inside the character's mind, the narrative is designed to have a safe outcome, and there are no real-world repercussions. This allows us to safely explore strong emotions such as danger, obsession, or dominance. Often, these scenarios present these actions with emotional intensity, vulnerability, or chemistry, which can make them feel incredibly exciting and romantically charged, even though intellectually, we understand that these scenarios would not be appropriate.

Putting on makeup. Like, we're supposed to disguise ourselves; otherwise, people think we didn't take this outing seriously, didn't care enough, or didn't act professionally. In some ways, beauty standards are social obligations. Keeping up with nails, clothes, hair, etc., that's almost an expectation in some relationships.

Art, at its very best, reminds me that there is a world out there that I not only belong to but trust - perhaps even love. Sandra Vázquez de la Horra's beeswax-dipped drawings of erupting women, mystical landscapes, and hallucinatory flora in The Awake Volcanoes at the Institute of Contemporary Art, Los Angeles, did just that. Oh, that old mystery of finding oneself reflected in the material fragments of someone else's private imaginary.

"No, not yet. I am waiting until I am serious with someone, and until then, I am only doing oral and mutual masturbation. My reply, "That is sex!" This usually gets a response of, "Well, I meant f*cking," which they equate to sex. Nothing else. I have to remind my clients that fellatio and cunnilingus is called "oral sex" for a reason. That is still sex."

The move to cancel gender studies is explicitly justified as a way to comply with Donald Trump's executive order of last year titled Defending Women from Gender Ideology Extremism and Restoring Biological Truth to the Federal Government. That document makes the biological reality of sex a matter not of science but of law.

If you want to paint, put your clothes back on! That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: What does it mean for a female artist to be both the artist and the life model?

Marsha eventually brought her salon to campus and founded the Comparative Literature Women's Caucus, an activist collective that established the first women's literature classes in Comparative Literature, conceived and taught by graduate student women. Caucus members helped produce the first major translation anthologies of women's world-wide poetry, encouraged women to write feminist dissertations on women authors, and researched discrimination against women in the department.

Many editors languish in the margins of history, their contributions largely invisible despite how much they shape whom and how we read. But in recent years, amid a wave of books unearthing overlooked figures, biographers have turned their sights to pioneering book and magazine editors-including Malcolm Cowley of Viking, Judith Jones of Knopf, Bennett Cerf of Random House, and Katharine S. White of The New Yorker -anointing them as the unsung architects of the American literary canon.

Charles Dickens's novels are often criticised for their idealised passive female characters, but as the Dickens Museum now shows, he was, in life and in death, surrounded by formidable, intelligent and independent women. A new exhibition at the museum shifts attention away from Dickens as a solitary genius and instead places women at the centre of his creative world and cultural afterlife.

Have you ever doubted your knowledge or expertise? Noticed, if you're a woman, that you receive less recognition than your male colleagues do, that your ideas were unheard in a discussion until they were echoed by a man - who then received credit for them? Have you observed a gendered division of labour in your workplace; a pay gap; gender, racial or class prejudices? Have you felt pressured to choose between being a wife, a mother and a scientist? Most women in science have.