Two of the earliest women's suffrage victories were achieved in the Russian Empire, in Finland and Russia, as a result of wars and revolutions. Their significance has been largely ignored, yet study of these achievements challenges the standard paradigms about the conditions (struggle within a democracy, geographic location on the 'periphery'), which favoured early suffrage breakthroughs. This article analyses the particular circumstances in Finland and Russia, which, in a relatively short amount of time, broke down resistance to giving women the vote. An examination of the events surrounding the February 1917 Russian Revolution, which toppled the Tsar, demonstrates the significant role of women in initiating and furthering the revolutionary momentum as well as fighting for their own rights. Both the Finns and the Russians pioneered in extending the legacies of the French and American Revolutions to include women.
Rochelle Goldberg Ruthchild
Female AutobioBD and Julie Doucet's Changements d'adresses
In comparison to the U.S. market, the trend for autobiographical sequential art arrived late within the history of the francophone bande dessinée. Its rising popularity throughout the 1990s and into the new millennium coincided, and to an extent connected, with another belated development in the French-language industry however: that of the growing presence of the female artist. This article considers the strong presence of life narratives in bandes dessinées created by women, before presenting a case-study examining the manipulation of the medium to an autobiographical end in Québécoise artist Julie Doucet's 1998 Changements d'adresses ['Changes of Addresses']. It considers how, in this coming-of-age narrative set first in Montreal and then New York, Doucet utilises the formal specificity of the bande dessinée to emphasise both the fragmentation and then reintegration of her hybrid enunciating instances. It further examines Doucet's usage of the life-narrative bande dessinée to oppose her representation from that of the disruptive male figures in her life, whose sexual presence in her personal evolution is often connected to images of dysfunction and death, finally suggesting via this examination of Julie Doucet and Changements d'adresses the particular suitability of female-created life narratives to feminist reappropriations of the francophone bande dessinée.
Jennifer Anne Boittin, Christina Firpo, and Emily Musil Church
This article looks at French Indochina, metropolitan France, and French West Africa from 1914 through 1946 to illustrate specific ways in which French colonial authority operated across the French empire. We look at how colonized people challenged the complex formal and informal hierarchies of race, class, and gender that French administrators and colonizers sought to impose upon them. We argue that both the French imperial prerogatives and colonized peoples' responses to them are revealed through directly comparing and contrasting various locales across the empire. Our case studies explore interracial families and single white women seeking compensation from the French in Indochina, black men de ning their masculinity, and Africans debating women's suffrage rights.
Postfeminist Rhetoric in Christian At-Home Daughterhood Texts
feminism ( McGalliard 2010 ; Adams 2010 ; Stein 2010 ). Admittedly, advocates of this practice clearly do not endorse feminism; they often vocally distance themselves from it (Botkin and Botkin 2007). However, my analysis challenges the prevailing view
In December 1989, the ruling communist party of East Germany,
the Socialist Unity Party (SED), was reconstituted when it adopted the
name Socialist Unity Party-Party of Democratic Socialism (SED-PDS),
which was simplified on 4 February 1990 to the Party of Democratic
Socialism.1 The brand of Marxism-Leninism that had prevailed in the
German Democratic Republic (GDR) appeared to be irredeemably
discredited, and the new leadership of this successor party was
obliged to create an alternative vision of socialism and to redefine
their political goals. The PDS program of 1990,2 with its clear adoption
of a feminist agenda, constituted a breach with the party’s political
past. Whereas the Marxist-Leninist theory underpinning SED
policy had been based on the principle that inequality is economically
determined, the new PDS program acknowledged patriarchy
as a separate issue.
William D. Irvine
Scholars of Third Republic France have long assumed that the political spectrum was divided into a readily identifiable Right and Left, adhering to mutually exclusive positions. But this comfortable political taxonomy could, at times, to violence to political reality. The Right could at some periods in the history of the Third Republic be aggressively nationalistic; at other times it could be positively irenic. The Left was often pacifist, but not always and there were moments when it, or some fraction of it, could be quite bellicose. Neither anti-Semitism nor racism in general were the exclusive province of the Right. On critical issues, the Left could be more refractory to women's rights than was the Right. French fascism claimed to be neither right nor left and at least some French fascist movements could list as many former members of the Left among its leaders as former members of the Right.
Punk Aesthetic as Gender De(con)struction in the Trilogy Film Series "The Girl with the Dragon Tattoo
This article investigates contemporary representations of androgyny and the strategic possibilities of punk-androgyny within a postfeminist imaginary. In looking at the characters Lisbeth in the Swedish film trilogy The Girl With A Dragon Tattoo and Kino in the Japanese anime series Kino's Journey, I am interested in connecting the metonymy of punk dress to representations of transgressions of gender norms. My investigation looks at the concept that gender is “unread” through androgyny which manifests as visual signifiers that make up the punk metonymy. The subjects (characters Lisbeth and Kino) erase the signifier of gender, through punk-androgyny, in order to reclaim power and identity within a (masculinized) subculture and mainstream society. Androgyny is not the desire to be the opposite sex as in a transgender subjectivity. Instead, androgyny is a strategy of aesthetics that transgresses the normative structure of language and signifiers that refer girls and women as less than or as Other through the normative codes of feminizing. In addition to arguing that punk metonymy erases explicit or readable/normative gender signs, I analyze how the motorcycle is situated as an extension of the body. The use of motorcycling propels the literal and figurative androgynous bodies through space in overt transgressive actions against the establishment; it provides agency, motility and ultimately new subject positions for the female protagonists. Through a critical analysis drawing from cultural and post-feminist theory and through the examination of specific scenes, this article aims to investigate punk aesthetic as a post-feminist strategy.
Has “Uncle Sam” Learned any Lessons from “Typhoid Mary?”
Amani Othman and William W. Darrow
Discrimination against women and other vulnerable groups prevailed throughout the twentieth century; it persists today. This historical case study analyzes the life and times of “Typhoid Mary,” an unmarried, Irish Catholic, immigrant woman who was persecuted as an intransigent carrier of a deadly infectious disease. Being a Mexican immigrant, Muslim, or unattractive woman could condemn someone for similar mistreatment today. The failure to overcome prejudice impedes the effectiveness of public health to protect infected patients and susceptible persons from harm and to interrupt disease transmission in communities; it jeopardizes the realization of social quality. Social justice, solidarity, equal valuation, and human dignity will be achieved through resistance to the human rights violations of the Trump administration and the resilience of strong women like Mary Mallon.
This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.
Contemporary Trends in Religious-Zionism
, we see a diverse society with various levels of religiosity and observance of Halakhah. Feminism Another revolution currently taking place among those who grew up in Religious-Zionist circles is related to the roles of women within the