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An exploration of the paralells between the ends of the 19th and 20th centuries and their representations in art, literature and film, this book asks whether the approaching millenium signals a beginning or points grimly to an end, and whether the ends of centuries are merely imaginery borderlines in time, or cycles, such as the crises of the "fin de siecle" and the sense of ending so ominously present in the works of contemporary writers and artists. The novelist George Gissing remarked that the 1880s and 1890s were decades of sexual anarchy, when the notions of gender that governed sexual identity and behaviour were being constantly eroded. It was a time when the words "feminism" and "homosexuality" came into use, redefining accepted ideas of masculine and feminine, and a time when the "emancipated woman" was viewed as a threat to family stability. That was nearly 100 years ago, and in this book the author points out the similarity between that time and this time. The sexual abuse of children and the increasing frequency of rape; the censoring of art and the banning of pornography; anti-abortion campaigns and the AIDs epidemic - these late-20th-century crises are, the author suggests, comparable to their "fin de siecle" counterparts. Elaine Showalter is also the author of "A Literature of Their Own: Women Writers from Bronte to Lessing" and "The Female Malady: Women, Madness, and English Culture, 1830 - 1980".

Draws on de Sade's embodiments of women's two roles, Justine and Juliette, and on more contemporary models to argue that sexuality is a mode of power politics as well as a vital way to advance relationships admitting of neither conqueror nor conquered. Reprint.

Judith Butler follows Edward Said's late suggestion that through a consideration of Palestinian dispossession in relation to Jewish diasporic traditions a new ethos can be forged for a one-state solution. Butler engages Jewish philosophical positions to articulate a critique of political Zionism and its practices of illegitimate state violence, nationalism, and state-sponsored racism. At the same time, she moves beyond communitarian frameworks, including Jewish ones, that fail to arrive at a radical democratic notion of political cohabitation. Butler engages thinkers such as Edward Said, Emmanuel Levinas, Hannah Arendt, Primo Levi, Martin Buber, Walter Benjamin, and Mahmoud Darwish as she articulates a new political ethic. In her view, it is as important to dispute Israel's claim to represent the Jewish people as it is to show that a narrowly Jewish framework cannot suffice as a basis for an ultimate critique of Zionism. She promotes an ethical position in which the obligations of cohabitation do not derive from cultural sameness but from the unchosen character of social plurality. Recovering the arguments of Jewish thinkers who offered criticisms of Zionism or whose work could be used for such a purpose, Butler disputes the specific charge of anti-Semitic self-hatred often leveled against Jewish critiques of Israel. Her political ethic relies on a vision of cohabitation that thinks anew about binationalism and exposes the limits of a communitarian framework to overcome the colonial legacy of Zionism. Her own engagements with Edward Said and Mahmoud Darwish form an important point of departure and conclusion for her engagement with some key forms of thought derived in part from Jewish resources, but always in relation to the non-Jew.Butler considers the rights of the dispossessed, the necessity of plural cohabitation, and the dangers of arbitrary state violence, showing how they can be extended to a critique of Zionism, even when that is not their explicit aim. She revisits and affirms Edward Said's late proposals for a one-state solution within the ethos of binationalism. Butler's startling suggestion: Jewish ethics not only demand a critique of Zionism, but must transcend its exclusive Jewishness in order to realize the ethical and political ideals of living together in radical democracy.

“As funny as it is informative, this book will have you laughing out loud while you contemplate the revolutionary power of words.” —Camille Perri, author of The Assistants and When Katie Met Cassidy A brash, enlightening, and wildly entertaining feminist look at gendered language and the way it shapes us. The word bitch conjures many images, but it is most often meant to describe an unpleasant woman. Even before its usage to mean “a female canine,” bitch didn’t refer to women at all—it originated as a gender-neutral word for “genitalia.” A perfectly innocuous word devolving into an insult directed at females is the case for tons more terms, including hussy, which simply meant “housewife”; and slut, which meant “an untidy person” and was also used to describe men. These are just a few of history’s many English slurs hurled at women. Amanda Montell, reporter and feminist linguist, deconstructs language—from insults, cursing, gossip, and catcalling to grammar and pronunciation patterns—to reveal the ways it has been used for centuries to keep women and other marginalized genders from power. Ever wonder why so many people are annoyed when women speak with vocal fry or use like as filler? Or why certain gender-neutral terms stick and others don’t? Or where stereotypes of how women and men speak come from in the first place? Montell effortlessly moves between history, science, and popular culture to explore these questions—and how we can use the answers to affect real social change. Her irresistible humor shines through, making linguistics not only approachable but downright hilarious and profound. Wordslut gets to the heart of our language, marvels at its elasticity, and sheds much-needed light on the biases that shadow women in our culture and our consciousness.

In essays on literary images of lesbianism from Defoe and Diderot to Virginia Woolf and Djuna Barnes, on the homosexual reputation of Marie Antoinette, on the lesbian writings of Anne Lister, Sylvia Townsend Warner, and Janet Flanner, and on Henry James's The Bostonians, Castle shows how a lesbian presence can be identified in the literature, history, and culture of the past three centuries

In 1991, Anita Hill's testimony during Clarence Thomas's Senate confirmation hearing brought the problem of sexual harassment to a public audience. Although widely believed by women, Hill was defamed by conservatives and Thomas was confirmed to the Supreme Court. The tainting of Hill and her testimony is part of a larger social history in which women find themselves caught up in a system that refuses to believe what they say. Hill's experience shows how a tainted witness is not who someone is, but what someone can become. Why are women so often considered unreliable witnesses to their own experiences? How are women discredited in legal courts and in courts of public opinion? Why is women's testimony so often mired in controversies fueled by histories of slavery and colonialism? How do new feminist witnesses enter testimonial networks and disrupt doubt? Tainted Witness examines how gender, race, and doubt stick to women witnesses as their testimony circulates in search of an adequate witness. Judgment falls unequally upon women who bear witness, as well-known conflicts about testimonial authority in the late twentieth and early twenty-first centuries reveal. Women's testimonial accounts demonstrate both the symbolic potency of women's bodies and speech in the public sphere and the relative lack of institutional security and control to which they can lay claim. Each testimonial act follows in the wake of a long and invidious association of race and gender with lying that can be found to this day within legal courts and everyday practices of judgment, defining these locations as willfully unknowing and hostile to complex accounts of harm. Bringing together feminist, literary, and legal frameworks, Leigh Gilmore provides provocative readings of what happens when women's testimony is discredited. She demonstrates how testimony crosses jurisdictions, publics, and the unsteady line between truth and fiction in search of justice.

Since the release of Wayne Koestenbaum's book, The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire, gender studies has begun to take an active interest in music. Opera, long viewed as strictly an establishment tradition, has in particular been given a second look by gender theorists. Can opera - an antiquated, Eurocentric bastion of high culture - in fact be subverting patriarchal authority in some fundamental way?

Here at last is a comprehensive and highly approachable introduction to lesbian and gay studies for students and general readers. More than one hundred articles, essays, and primary documents cover the formation of gay identity, religious, scientific, medical, and legal perspectives, the mainstream media, lesbian and gay media, and community prospects and tactics. From Eve Kosofsky Sedgwick's essay, "How to Bring Your Kids Up Gay," to Joseph Cardinal Ratzinger's "Letter to the Bishops of the Catholic Church on the Pastoral Care of Homosexual Persons," to a 1947 Newsweek article, "Homosexuals in Uniform," The Columbia Reader explores experiences and representations of lesbian and gay people in an engaging and accessible format. The Columbia Reader features: * concise introductions to each section, as well as a substantial general introduction * viewpoints--ranging from radical to conservative--of lesbian and gay scholars and community writers, as well as nongay intellectuals and public figures * essays, articles, and primary documents from both mainstream and lesbian/gay sources * detailed exploration of mainstream media representations of gays and lesbians in films, television, and print as well as the rise of lesbian/gay media outlets * broad coverage of history and identity, social, cultural, legal, medical, and religious regulation, AIDS, and lesbian and gay political agendas and strategies * current topics, such as the recent development of a cybercommunity, as well as questions of censorship and pornography, same-sex marriage, the ethics of "outing," gay and lesbian activism, and the conservative backlash Grounded in key social and political topics rather than wholly theoretical approaches, The Columbia Reader on Lesbians and Gay Men in Media, Society, and Politics will be a valuable resource for years to come.

The 1970s brought a new understanding of the biological and intellectual impact of environmental crises on human beings, and as efforts to prevent ecological and human degradation aligned, a new literature of sickness emerged. “Ecosickness fiction” imaginatively rethinks the link between ecological and bodily endangerment and uses affect and the sick body to bring readers to environmental consciousness. Tracing the development of ecosickness through a compelling archive of modern U.S. novels and memoirs, this study demonstrates the mode’s crucial role in shaping thematic content and formal and affective literary strategies. Examining works by David Foster Wallace, Richard Powers, Leslie Marmon Silko, Marge Piercy, Jan Zita Grover, and David Wojnarowicz, Heather Houser shows how these authors unite experiences of environmental and somatic damage through narrative affects that draw attention to ecological phenomena, organize perception, and convert knowledge into ethics. Traversing contemporary cultural studies, ecocriticism, affect studies, and literature and medicine, Houser juxtaposes ecosickness fiction against new forms of environmentalism and technoscientific innovations such as regenerative medicine and alternative ecosystems. Ecosickness in Contemporary U.S. Fiction recasts recent narrative as a laboratory in which affective and perceptual changes both support and challenge political projects.