527 books match the query 'Feminism & Feminist Theory' and 23 start with c

cover of Can We Wear Our Pearls and Still Be Feminists?: Memoirs of a Campus Struggle

Can We Wear Our Pearls and Still Be Feminists?

Memoirs of a Campus Struggle

Joan D. Mandle

University of Missouri Press, 2000

When Joan Mandle accepted the position of Director of Women's Studies at Colgate University, she had specific goals in mind—to make the program stronger, more academically rigorous, and publicly open. The program would resist becoming the captive of identity politics and would refuse to allow itself to become marginalized on the campus. It would reach beyond the negative stereotypes of feminism on campus by appealing to and challenging all students and faculty interested in gender issues and social change.

Just as Mandle anticipated, she faced obstacles during the transformation. Among her critics were feminist students and faculty whose views of a successful program directly contradicted Mandle's. While the new director called for outreach, they insisted on isolation. While she set forth a policy of inclusiveness, they sought to maintain an exclusive community. These individuals preferred the former model of the women's studies program, despite its tendency toward separatism.

Can We Wear Our Pearls and Still Be Feminists? explores women's studies from Mandle's perspective as a program director, feminist activist, and scholar. She offers a vivid account of being forced to grapple with fundamental issues of what women's studies is and should be. Her strong commitment to feminism and women's studies does not prevent her from voicing her concerns; instead, it compells her to share the story of her directorship in hopes of shedding light on the strengths and weaknesses, pitfalls and triumphs of women's studies as an academic discipline.

Through her examination of the battles involved in creating an academically significant and ideologically open program, Mandle provides insight into a possible avenue of change for feminism. By showing how the program at Colgate University was able to encourage campuswide discussions on feminism, Mandle demonstrates that women's studies can succeed as an inclusive and rigorous field. This enlightening memoir provides readers with a window on important debates concerning feminism and women in academia.

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cover of Carceral Liberalism: Feminist Voices against State Violence

Carceral Liberalism

Feminist Voices against State Violence

Edited by Shreerekha Pillai. Foreword by Demita Frazier

University of Illinois Press, 2023

One of Ms. Magazine's Most Anticipated Books of 2023

Carceral liberalism emerges from the confluence of neoliberalism, carcerality, and patriarchy to construct a powerful ruse disguised as freedom. It waves the feminist flag while keeping most women still at the margins. It speaks of a post-race society while one in three Black men remain incarcerated. It sings the praises of capital while the dispossessed remain mired in debt.

Shreerekha Pillai edits essays on carceral liberalism that continue the trajectory of the Combahee River Collective and the many people inspired by its vision of feminist solidarity and radical liberation. Academics, activists, writers, and a formerly incarcerated social worker look at feminist resurgence and resistance within, at the threshold of, and outside state violence; observe and record direct and indirect forms of carcerality sponsored by the state and shaped by state structures, traditions, and actors; and critique carcerality. Acclaimed poets like Honorée Fanonne Jeffers and Solmaz Sharif amplify the volume’s themes in works that bookend each section.

Cutting-edge yet historically grounded, Carceral Liberalism examines an American ideological creation that advances imperialism, anti-blackness, capitalism, and patriarchy.

Contributors: Maria F. Curtis, Joanna Eleftheriou, Autumn Elizabeth and Zarinah Agnew and D Coulombe, Jeremy Eugene, Demita Frazier, Honorée Fanonne Jeffers, Alka Kurian, Cassandra D. Little, Beth Matusoff Merfish, Francisco Argüelles Paz y Puente, Shreerekha Pillai, Marta Romero-Delgado, Ravi Shankar, Solmaz Sharif, Shailza Sharma, Tria Blu Wakpa and Jennifer Musial, Javier Zamora

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cover of Changing Minds: Social Movements’ Cultural Impacts

Changing Minds

Social Movements’ Cultural Impacts

Francesca Polletta

Russell Sage Foundation, 2025

Social movements—organized efforts by relatively powerless people to change society—can result in legal and policy changes, such as laws protecting same-sex marriage and tax rebates for solar energy. However, movements also change people’s beliefs, values, and everyday behavior. Such changes may help bring about new policies or take place in the absence of new policy, yet we still know little about when and why they occur. In Changing Minds, sociologists Francesca Polletta and Edwin Amenta ask why movements have sometimes had fast and far-reaching cultural influence.
 
Polletta and Amenta examine the trajectories of U.S. social movements, including the old-age pension movements of the 1930s and 1940s, the Black rights movement of the 1950s and 1960s, the women’s movement of the 1970s, right-wing movements in the 1980s and 1990s, and the environmental movement up to the present, to determine when, why, and how social movements change culture. They find that influential movements are featured in the news, but not only in the news. Movement perspectives may appear also in opinion and commentary outlets, on television talk shows and dramas, in movies, stand-up comedy, and viral memes. Popular culture producers remake movement messages as they transmit them, sometimes in ways that make those messages compelling. For example, while the news largely ignored feminists’ challenge to inequality in the home, popular cultural outlets turned “liberation” into a resonant demand for women’s right to self-fulfillment outside the home and within it.  Widespread attention to the movement may lead people to change their minds individually. But more substantial change is likely when companies, schools, and other organizations outside government strive to get out in front of a newly legitimate issue, whether environmental sustainability or racial equity, by adopting movement-supportive norms and practices. Eventually, ideas associated with a movement may become a new common sense—though not always the ideas that the movement intended.
 
Throughout Changing Minds, Polletta and Amenta provide activists with strategies for getting their message heard and acted on. They suggest how movement actors can get into the news as political players or experts rather than lawbreakers or zealots. They show when it makes sense for activists to work with popular cultural producers and when they should create their own cultural outlets. They explain why the routes to cultural influence have changed and why urging people to take one easy step to save the planet can do more harm than good.
 
Changing Minds is a fascinating exploration of why and how some social movements have caused profound shifts in society.
 
 
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cover of Charlotte Perkins Gilman: Optimist Reformer

Charlotte Perkins Gilman

Optimist Reformer

Jill Rudd

University of Iowa Press, 1999

“These essays exemplify all the virtues of interdisciplinarity in consideration of that most multidisciplined of writers, Charlotte Perkins Gilman. The contributors simultaneously clarify and complicate our understanding of some of the more vexed areas of Gilman's work by engaging saliently with her theories of ethnicity, class, prostitution, and the dynamics of gender; posing difficult questions to contemporary feminist scholars; and providing sensitive and insightful guidance to a well-chosen and wide range of texts.”—Janet Beer, author of Kate Chopin, Edith Wharton and Charlotte Perkins Gilman: Studies in Short Fiction
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cover of Che on My Mind

Che on My Mind

Margaret Randall

Duke University Press, 2013

Che on My Mind is an impressionistic look at the life, death, and legacy of Che Guevara by the renowned feminist poet and activist Margaret Randall. Recalling an era and this figure, she writes, "I am old enough to remember the world in which [Che] lived. I was part of that world, and it remains a part of me." Randall participated in the Mexican student movement of 1968 and eventually was forced to leave the country. She arrived in Cuba in 1969, less than two years after Che's death, and lived there until 1980. She became friends with several of Che's family members, friends, and compatriots. In Che on My Mind she reflects on his relationships with his family and fellow insurgents, including Fidel Castro. She is deeply admiring of Che's integrity and charisma and frank about what she sees as his strategic errors. Randall concludes by reflecting on the inspiration and lessons that Che's struggles might offer early twenty-first-century social justice activists and freedom fighters.
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cover of Chicana Art: The Politics of Spiritual and Aesthetic Altarities

Chicana Art

The Politics of Spiritual and Aesthetic Altarities

Laura E. Pérez

Duke University Press, 2007

In Alma Lopez’s digital print Lupe & Sirena in Love (1999), two icons—the Virgin of Guadalupe and the mermaid Sirena, who often appears on Mexican lottery cards—embrace one another, symbolically claiming a place for same-sex desire within Mexican and Chicano/a religious and popular cultures. Ester Hernandez’s 1976 etching Libertad/Liberty depicts a female artist chiseling away at the Statue of Liberty, freeing from within it a regal Mayan woman and, in the process, creating a culturally composite Lady Liberty descended from indigenous and mixed bloodlines. In her painting Coyolxauhqui Last Seen in East Oakland (1993), Irene Perez reimagines as whole the body of the Aztec warrior goddess dismembered in myth. These pieces are part of the dynamic body of work presented in this pioneering, lavishly illustrated study, the first book primarily focused on Chicana visual arts.

Creating an invaluable archive, Laura E. Pérez examines the work of more than forty Chicana artists across a variety of media including painting, printmaking, sculpture, performance, photography, film and video, comics, sound recording, interactive CD-ROM, altars and other installation forms, and fiction, poetry, and plays. While key works from the 1960s and 1970s are discussed, most of the pieces considered were produced between 1985 and 2001. Providing a rich interpretive framework, Pérez describes how Chicana artists invoke a culturally hybrid spirituality to challenge racism, bigotry, patriarchy, and homophobia. They make use of, and often radically rework, pre-Columbian Mesoamerican and other non-Western notions of art and art-making, and they struggle to create liberating versions of familiar iconography such as the Virgin of Guadalupe and the Sacred Heart. Filled with representations of spirituality and allusions to non-Western visual and cultural traditions, the work of these Chicana artists is a vital contribution to a more inclusive canon of American arts.


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cover of Chicana Feminisms: A Critical Reader

Chicana Feminisms

A Critical Reader

Gabriela F. Arredondo, Aida Hurtado, Norma Klahn, Olga Nájera-Ramírez, and Patricia Zavella, eds.

Duke University Press, 2003

Chicana Feminisms presents new essays on Chicana feminist thought by scholars, creative writers, and artists. This volume moves the field of Chicana feminist theory forward by examining feminist creative expression, the politics of representation, and the realities of Chicana life. Drawing on anthropology, folklore, history, literature, and psychology, the distinguished contributors combine scholarly analysis, personal observations, interviews, letters, visual art, and poetry. The collection is structured as a series of dynamic dialogues: each of the main pieces is followed by an essay responding to or elaborating on its claims. The broad range of perspectives included here highlights the diversity of Chicana experience, particularly the ways it is made more complex by differences in class, age, sexual orientation, language, and region. Together the essayists enact the contentious, passionate conversations that define Chicana feminisms.

The contributors contemplate a number of facets of Chicana experience: life on the Mexico-U.S. border, bilingualism, the problems posed by a culture of repressive sexuality, the ranchera song, and domesticana artistic production. They also look at Chicana feminism in the 1960s and 1970s, the history of Chicanas in the larger Chicano movement, autobiographical writing, and the interplay between gender and ethnicity in the movie Lone Star. Some of the essays are expansive; others—such as Norma Cantú’s discussion of the writing of her fictionalized memoir Canícula—are intimate. All are committed to the transformative powers of critical inquiry and feminist theory.

Contributors. Norma Alarcón, Gabriela F. Arredondo, Ruth Behar, Maylei Blackwell, Norma E. Cantú, Sergio de la Mora, Ann duCille, Michelle Fine, Rosa Linda Fregoso, Rebecca M. Gámez, Jennifer González, Ellie Hernández, Aída Hurtado, Claire Joysmith, Norma Klahn, Amalia Mesa-Bains, Olga Nájera-Ramírez, Anna Nieto Gomez, Renato Rosaldo, Elba Rosario Sánchez, Marcia Stephenson, Jose Manuel Valenzuela, Patricia Zavella

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cover of Chicana Liberation: Women and Mexican American Politics in Los Angeles, 1945-1981

Chicana Liberation

Women and Mexican American Politics in Los Angeles, 1945-1981

Marisela R. Chávez

University of Illinois Press, 2024

Mexican American women reached across generations to develop a bridging activism that drew on different methods and ideologies to pursue their goals. Marisela R. Chávez uses a wealth of untapped oral histories to reveal the diverse ways activist Mexican American women in Los Angeles claimed their own voices and space while seeking to leverage power. Chávez tells the stories of the people who honed beliefs and practices before the advent of the Chicano movement and the participants in the movement after its launch in the late 1960s. As she shows, Chicanas across generations challenged societal traditions that at first assumed their place on the sidelines and then assigned them second-class status within political structures built on their work. Fueled by a surging pride in their Mexican heritage and indigenous roots, these activists created spaces for themselves that acknowledged their lives as Mexicans and women.

Vivid and compelling, Chicana Liberation reveals the remarkable range of political beliefs and life experiences behind a new activism and feminism shaped by Mexican American women.

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cover of Cinema of Crushing Motherhood: A New Feminist Cinema

Cinema of Crushing Motherhood

A New Feminist Cinema

Olivia Landry

University of Illinois Press, 2025

Twenty-first century contemporary films like Emily Atef’s Das Fremde in mir and Savannah Leaf’s Earth Mama portray motherhood as a source of regret, exhaustion, rage, shame, guilt, and disgust. Olivia Landry analyzes this new feminist cinema and the ways it embraces and explores the crushing burden of mothering children. Landry surveys films released in North America, Europe, and Australia over a period beginning in 2007. As she shows, revelation and the expression of negative feelings upend the traditional image of the perfect, self-sacrificial, and happy mother. Landry tracks how radical positions like maternal regret and family abolition have replaced age-old tropes while also going beyond portrayals of maternal ambivalence. Her feminist method casts off psychoanalysis and renounces pathological approaches to motherhood to show how a generation of filmmakers have insisted on the subjective position and experience of the mother rather than that of the child. Bold and groundbreaking, Cinema of Crushing Motherhood looks at taboo-breaking films and illuminates the emotions and affects that make them so powerful.
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cover of Citizenship from Below: Erotic Agency and Caribbean Freedom

Citizenship from Below

Erotic Agency and Caribbean Freedom

Mimi Sheller

Duke University Press, 2012

Citizenship from Below boldly revises the history of the struggles for freedom by emancipated peoples in post-slavery Jamaica, post-independence Haiti, and the wider Caribbean by focusing on the interplay between the state, the body, race, and sexuality. Mimi Sheller offers a new theory of "citizenship from below" to describe the contest between "proper" spaces of legitimate high politics and the disavowed politics of lived embodiment. While acknowledging the internal contradictions and damaging exclusions of subaltern self-empowerment, Sheller roots out from beneath the historical archive traces of a deeper freedom, one expressed through bodily performances, familial relationships, cultivation of the land, and sacred worship.

Attending to the hidden linkages among intimate realms and the public sphere, Sheller explores specific struggles for freedom, including women's political activism in Jamaica; the role of discourses of "manhood" in the making of free subjects, soldiers, and citizens; the fiercely ethnonationalist discourses that excluded South Asian and African indentured workers; the sexual politics of the low-bass beats and "bottoms up" moves in the dancehall; and the struggle for reproductive and LGBT rights and against homophobia in the contemporary Caribbean. Through her creative use of archival sources and emphasis on the connections between intimacy, violence, and citizenship, Sheller enriches critical theories of embodied freedom, sexual citizenship, and erotic agency in all post-slavery societies.


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cover of Claiming the Bicycle: Women, Rhetoric, and Technology in Nineteenth-Century America

Claiming the Bicycle

Women, Rhetoric, and Technology in Nineteenth-Century America

Sarah Hallenbeck

Southern Illinois University Press, 2016

Although the impact of the bicycle craze of the late nineteenth century on women’s lives has been well documented, rarely have writers considered the role of women’s rhetorical agency in the transformation of bicycle culture and the bicycle itself. In Claiming the Bicycle, Sarah Hallenbeck argues that through their collective rhetorical activities, women who were widely dispersed in space, genre, and intention negotiated what were considered socially acceptable uses of the bicycle, destabilizing cultural assumptions about femininity and gender differences.
 
Hallenbeck describes the masculine culture of the “Ordinary” bicycle of the 1880s and the ways women helped bring about changes in this culture; asserts that women contributed to bicycle design, helping to produce the more gender-neutral “Safety” bicycle in response to discourse about their needs; and analyzes women writers’ uses of the new venue of popular magazines to shape a “bicycle girl” ethos that prompted new identities for women. The author considers not only how technical documents written by women bicyclists encouraged new riders to understand their activity as transforming gender definitions but also how women used bicycling as a rhetorical resource to influence medical discourse about their bodies.
 
Making a significant contribution to studies of feminist rhetorical historiography, rhetorical agency, and technical communication, Claiming the Bicycle asserts the utility of a distributed model of rhetorical agency and accounts for the efforts of widely dispersed actors to harness technology in promoting social change. 
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cover of Clairvoyance (For Those In The Desert): Performance Pieces, 1979–2004

Clairvoyance (For Those In The Desert)

Performance Pieces, 1979–2004

Joanna Frueh

Duke University Press, 2008

The performance artist Joanna Frueh has emerged over the past twenty-five years as a wildly original voice in feminist art. Her uninhibited performances are celebrations of beauty, sensuality, eroticism, and pleasure. Clairvoyance (For Those In The Desert), which features eighteen of her essential performance texts, is a celebration of this remarkable artist and her work. Arranged chronologically, from The Concupiscent Critic (1979) through Ambrosia (2004), the pieces reveal Frueh’s evolution as an artist and intellectual over the course of her career. Many of these texts have never before been published; others have not been readily available until now. Among the sixteen color photographs in this richly illustrated book are pictures of Frueh performing and images from Joanna in the Desert, a 2006 collaboration between Frueh and the artist and scholar Jill O’Bryan.

Frueh’s performances are unabashedly autobiographical, as likely to reflect her scholarship as a feminist art historian as her love affairs or childhood memories. For Frueh, eros and self-love are part of a revolutionary feminist strategy; her work exemplifies the physicality and embrace of pleasure that she finds wanting in contemporary feminist theory. Scholarly and rigorous yet playful in tone, her performances are joyful, filled with eroticism, flowers, sexy costumes, and beautiful colors, textures, and scents. Recurring themes include Frueh’s passionate attachment to the desert landscape and the idea of transformation: a continual reaching for clarity of thought and feeling.
In an afterword as lyrical and breathless as her performance pieces, Frueh explores her identification with the desert and its influence on her art. Clairvoyance (For Those In The Desert) includes a detailed chronology of Frueh’s performances.

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cover of Collected Letters of a Renaissance Feminist

Collected Letters of a Renaissance Feminist

Laura Cereta

University of Chicago Press, 1997

Renaissance writer Laura Cereta (1469–1499) presents feminist issues in a predominantly male venue—the humanist autobiography in the form of personal letters. Cereta's works circulated widely in Italy during the early modern era, but her complete letters have never before been published in English. In her public lectures and essays, Cereta explores the history of women's contributions to the intellectual and political life of Europe. She argues against the slavery of women in marriage and for the rights of women to higher education, the same issues that have occupied feminist thinkers of later centuries.

Yet these letters also furnish a detailed portrait of an early modern woman’s private experience, for Cereta addressed many letters to a close circle of family and friends, discussing highly personal concerns such as her difficult relationships with her mother and her husband. Taken together, these letters are a testament both to an individual woman and to enduring feminist concerns.
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cover of Conferencing on the Edge: A Queer History of Feminist Field Formation

Conferencing on the Edge

A Queer History of Feminist Field Formation

Rachel Corbman

Duke University Press, 2027

Rachel Corbman’s Conferencing on the Edge tells the story of how feminism and queer liberation became academic pursuits. Corbman centers five academic conferences with notable afterlives in feminist and queer studies, from the West Coast Women’s Studies conference at Sacramento State in 1973 to the 1989 Outside/Inside conference at Yale. Each of these conferences is cited for its role in bringing a conflict in the field—over race, sexuality, or professionalization—to a head. Corbman’s detailed oral and archival histories of these conferences, from their planning to the events themselves to their mythologizing in feminist and queer scholarship, expand a conventional narrative premised on turning points: from social movement to university discipline, from white to intersectional, from feminist to queer. Both a social movement history and a study of feminist and queer field formation, Conferencing on the Edge helps make sense of the profound entanglements of these fields and the administrative dangers they face today.
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cover of Considering Emma Goldman: Feminist Political Ambivalence and the Imaginative Archive

Considering Emma Goldman

Feminist Political Ambivalence and the Imaginative Archive

Clare Hemmings

Duke University Press, 2018

In Considering Emma Goldman Clare Hemmings examines the significance of the anarchist activist and thinker for contemporary feminist politics. Rather than attempting to resolve the tensions and problems that Goldman's thinking about race, gender, and sexuality pose for feminist thought, Hemmings embraces them, finding them to be helpful in formulating a new queer feminist praxis. Mining three overlapping archives—Goldman's own writings, her historical and theoretical legacy, and an imaginative archive that responds creatively to gaps in those archives —Hemmings shows how serious engagement with Goldman's political ambivalences opens up larger questions surrounding feminist historiography, affect, fantasy, and knowledge production. Moreover, she explores her personal affinity for Goldman to illuminate the role that affective investment plays in shaping feminist storytelling. By considering Goldman in all her contradictions and complexity, Hemmings presents a queer feminist response to the ambivalences that also saturate contemporary queer feminist race theories.
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cover of Contesting Publics: Feminism, Activism, Ethnography

Contesting Publics

Feminism, Activism, Ethnography

Lynne Phillips and Sally Cole

Pluto Press, 2014

Through ethnographic cases and activists’ narratives, Contesting Publics analyses the challenges feminists face as they seek to engage with new spaces of participatory democracy in Latin America.

Lynne Phillips and Sally Cole analyse how new silences, exclusions and re-inscriptions of inequalities have emerged alongside these new spaces of participation. The book re-examines the relationship between public and private and speaks to a larger theoretical question: what is the meaning of 'the public' within democracy projects?

Contesting Publics considers current debates among feminists from different generations on the merits of a variety of strategies, goals and issues, drawing out vital lessons for students, researchers and activists in anthropology, gender studies and Latin American studies.

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cover of Corporal Rhetoric: Regulating Reproduction in the Progressive Era

Corporal Rhetoric

Regulating Reproduction in the Progressive Era

Barbara Schneider

University of Alabama Press, 2021

Examines public discourse from the Progressive Era over the state’s right to regulate women’s bodies and their reproduction

When Justice Oliver Wendell Holmes determined in 1927 that sterilization was a legitimate means of safeguarding the nation’s health, he was asserting the state’s right to regulate the production of the national body. His opinion represented a culmination of arguments about reproduction and immigration that had been circulating for years but that intensified during the Progressive Era. Arguments about reproductive and immigration practices surged to the foreground, and tectonic shifts in the conceptual schemes and practices of reproduction in the United States followed.

Drawing on feminist historiography and genre studies, Corporal Rhetoric: Regulating Reproduction in the Progressive Era explores the rhetoric of medical research, new technologies, and material practices that shifted the idea of childbirth as an act of God or Nature to a medical procedure enacted by male physicians on the bodies of women made passive by both drugs and discourse. Barbara Schneider considers how efficiency, the hallmark of scientific management, was raised to a cardinal virtue by its inclusions in the powerful mediums of presidential speeches, national educational policies, and eugenics discourse to reclassify babies, long regarded as gifts, as either valuable assets or defective products.

Schneider shows how the legal system drew upon medicine, scientific management, and the emerging discipline of sociology to restrict women’s labor in order to preserve reproductive capacity, categorized by Supreme Court opinions as a public good rather than a private capacity. Throughout, she ties the arguments developed during this era to current debates about mothering rhetorics, reproductive rights, immigration, and conceptions of the nation.

By weaving together medical research reports, clinical practices, case studies, legal opinions and legislative acts, and the epistemology of scientific management, Schneider illuminates the network that women such as Margaret Sanger, Jane Addams, Lillian Gilbreth and multiple others negotiated as they sought to give women room to exercise their reproductive capacity. Through her analysis of the machinery of these discourses and the material uptake of their genres in the daily practices of reproductive bodies, Schneider offers a provisional theory of corporal rhetoric that begins to answer the call for a new material theory of the body.

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cover of CounterStories from the Writing Center

CounterStories from the Writing Center

Frankie Condon

Utah State University Press, 2021

CounterStories from the Writing Center gathers emerging scholars of colour and their white accomplices to challenge some of the most cherished lore about the work of writing centres. Writing within an intersectional feminist frame, this volume’s contributors name and critique the dominant role that white, straight, cis-gendered women have played in writing centre administration as well as in the field of writing centre studies. This work will shake the field’s core assumptions about itself.
 
Practicing what Derrick Bell has termed “creative truth telling,” these writers are not concerned with individual white women in writing centres but with the social, political, and cultural capital that is the historical birthright of white, straight, cis-gendered women, particularly in writing centre studies. The essays collected in this volume test, defy, and overflow the bounds of traditional academic discourse in the service of powerful testimony, witness, and counterstory.
 
CounterStories from the Writing Center is a must-read for writing centre directors, scholars, and tutors who are committed to antiracist pedagogy and offers a robust intersectional analysis to those who seek to understand the relationship between the work of writing centres and the problem of racism. Accessible and usable for both graduate and undergraduate students of writing centre theory and practice, this work troubles the field’s commonplaces and offers a rich envisioning of what writing centres materially committed to inclusion and equity might be and do.
 
Contributors: Dianna Baldwin, Nicole Caswell, Mitzi Ceballos, Romeo Garcia, Neisha-Anne Green, Doug Kern, T. Haltiwanger Morrison, Bernice Olivas, Moira Ozias, Trixie Smith, Willow Trevino
 
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cover of Critical Passions: Selected Essays

Critical Passions

Selected Essays

Jean Franco

Duke University Press, 1999

Jean Franco’s work as a pathbreaking theorist, cultural critic, and scholar has helped to define Latin American studies over the last three decades. In the process, Franco has played a crucial role in developing cultural studies in both the English- and Spanish-speaking worlds. Critical Passions is the first volume to gather a wide-ranging selection of Franco’s influential essays.
A key participant in the major debates in Latin American studies—beginning with the “boom” period of the 1960s and continuing through debates on ideology and discourse, Marxism, mass culture, and postmodernism—Franco is recognized for her feminist critique of Latin American writing. While her principal books are all readily available, Franco’s several dozen articles are dispersed in a variety of periodicals in Latin America, Europe, and the United States. Although many of these essays are considered pioneering and classic, they have never before been collected in a single work. In this volume, Mary Louise Pratt and Kathleen Newman have organized the essays into four interrelated sections: feminism and the critique of authoritarianism, mass and popular culture, Latin American literature from the “boom” onward, and the cultural history of Mexico. As a group, these writings demonstrate Franco’s ability to reflect on and judge with equal seriousness all spheres of expression, whether subway graffiti, a fashion manual, or an avant-garde haiku. A bona fide fan of popular and mass media, Franco never allows her critiques to dissolve into the puritanical or reductive; instead, she finds ways to present and debate complex theoretical questions in direct and accessible language.
This volume will draw an extensive readership in Latin American, cultural, and women’s studies.
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cover of Crossings: Creative Ecologies of Cruising

Crossings

Creative Ecologies of Cruising

João Florêncio

Rutgers University Press, 2025

It’s difficult to pinpoint the origins of cruising. While the term was used by men seeking casual encounters with other men in the parks and streets of New York City as early as the 1920s, historical records show the practice is much older. Cruising has existed for as long as anyone outside the dominant sex and gender systems has sought sexual encounters outside of sanctioned norms. This book offers a serious exploration of queer sex and sex cultures, exploring cruising as a mode of thinking with the body and communicating through sexuality. 
 
A creative dialogue between a queer artist and a queer academic reminiscing about and thinking with their cruising experiences, Crossings takes queer sex practices and cultures seriously as ways of knowing and world-making. The result is an erotic hybrid form hovering between scholarship and avant-garde experimentation, between critical manifesto and sex memoir. Here, the voices of each author, merged together in one, invite the reader to inhabit the erotic spacetime between self and other, the familiar and the strange, desire and pleasure, climax and release. That is, the spaces and temporalities of cruising itself.
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cover of Cruel Modernity

Cruel Modernity

Jean Franco

Duke University Press, 2013

In Cruel Modernity, Jean Franco examines the conditions under which extreme cruelty became the instrument of armies, governments, rebels, and rogue groups in Latin America. She seeks to understand how extreme cruelty came to be practiced in many parts of the continent over the last eighty years and how its causes differ from the conditions that brought about the Holocaust, which is generally the atrocity against which the horror of others is measured. In Latin America, torturers and the perpetrators of atrocity were not only trained in cruelty but often provided their own rationales for engaging in it. When "draining the sea" to eliminate the support for rebel groups gave license to eliminate entire families, the rape, torture, and slaughter of women dramatized festering misogyny and long-standing racial discrimination accounted for high death tolls in Peru and Guatemala. In the drug wars, cruelty has become routine as tortured bodies serve as messages directed to rival gangs.

Franco draws on human-rights documents, memoirs, testimonials, novels, and films, as well as photographs and art works, to explore not only cruel acts but the discriminatory thinking that made them possible, their long-term effects, the precariousness of memory, and the pathos of survival.

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cover of Curiosity and Power: The Politics of Inquiry

Curiosity and Power

The Politics of Inquiry

Perry Zurn

University of Minnesota Press, 2021

A trailblazing exploration of the political stakes of curiosity

Curiosity is political. Who is curious, when, and how reflects the social values and power structures of a given society. In Curiosity and Power, Perry Zurn explores the political philosophy of curiosity, staking the groundbreaking claim that it is a social force—the heartbeat of political resistance and a critical factor in social justice. He argues that the very scaffolding of curiosity is the product of political architectures, and exploring these values and architectures is crucial if we are to better understand, and more ethically navigate, the struggle over inquiry in an unequal world. 

Curiosity and Power explores curiosity through the lens of political philosophy—weaving in Nietzsche, Foucault, and Derrida in doing so—and the experience of political marginalization, demonstrating that curiosity is implicated equally in the maintenance of societies and in their transformation. Curiosity plays as central a role in establishing social institutions and fields of inquiry as it does in their deconstruction and in building new forms of political community. Understanding curiosity is critical to understanding politics, and understanding politics is critical to understanding curiosity. 

Drawing not only on philosophy and political theory but also on feminist theory, race theory, disability studies, and trans studies, Curiosity and Power tracks curiosity in the structures of political marginalization and resistance—from the Civil Rights Movement to building better social relationships. Curiosity and Power insists that the power of curiosity be recognized and engaged responsibly.

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cover of Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde

Cutting Performances

Collage Events, Feminist Artists, and the American Avant-Garde

James M. Harding

University of Michigan Press, 2012

"A thoughtful and engaging contribution to the field that will have a sustained and lasting impact on the way feminist performance is defined and understood, as well as on how feminist histories and historiographies continue to challenge and transform the larger field of performance."
---Charlotte Canning, The University of Texas at Austin

"Harding forcefully challenges and destabilizes the male-centered Eurocentric genealogy of the avant-garde, which he claims is an uncontested, linear, positivistic history, unproblematized by theory. Then he argues that this gendered biased version of the European avant-garde is carried over into American historiography . . . A forceful case for a revisionist history."
---Daniel Gerould, The City University of New York Graduate Center

Cutting Performances challenges four decades' worth of scholarship on the American avant-garde by offering a provocative reconceptualization of the history of avant-garde performance along feminist lines. Focusing on five women artists (Elsa von Freytag-Loringhoven, Gertrude Stein, Yoko Ono, Carolee Schneemann, and Valerie Solanas) whose performance aesthetics made prominent use of collage techniques, James M. Harding sheds light on the cultural history of the avant-garde and the role that experimental women artists played in that history. He investigates the prominent position that collage technique occupied within the artists' performance aesthetic, and the decisively feminist inflection that their work gives to collage as a mode of avant-garde expression. The radical juxtapositions in their works produce the powerful effects of making the familiar strange and establishing contexts from which new understandings may emerge.

Harding examines the performative dimensions of collage in experimental, feminist redefinitions of the literary, graphic, and theatrical arts, filling a void in a scholarly discourse that, while ostensibly about the vanguard, has lagged well behind other significant theoretical and historiographical currents. Cutting Performances not only challenges assumptions that have governed scholarship on the American avant-garde but also establishes a context to rethink the history of American avant-garde performance along feminist lines. It will appeal to audiences interested in theater history and performance studies as well as those interested in the cultural history of the avant-garde and the role that feminist experimental artists have played in it.

James M. Harding is Professor of English at the University of Mary Washington. His other books include Not the Other Avant-Garde: Transnational Foundations of Avant-Garde Performance (with John Rouse); Restaging the Sixties: Radical Theaters and Their Legacies (with Cindy Rosenthal); and Contours of the Theatrical Avant-Garde: Performance and Textuality.

Illustration: Carolee Schneemann in Eye Body-36 Transformative Actions (1963) Action for camera (Photograph by Erró). Reproduced by permission of Carolee Schneemann.

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