Recommendations based on "Engaging with Irigaray Feminist Philosophy and Modern European Thought"

Ejaculate Responsibly cleverly transcends the polarised anti-abortion and pro-choice 'debate' with something entirely different. Rather than endlessly exploring how and why we control women's bodies, this book turns the tables on men, arguing that they are the source of all unwanted pregnancies. Expanding on Gabrielle Blair's viral twitter thread from 2018, this book develops 28 refreshing and productive arguments for why men need to be accountable for their reproductive choices. An unwanted pregnancy doesn't happen because people have sex. An unwanted pregnancy only happens if a man ejaculates irresponsibly - it's not asking for a lot for men to avoid this. We've put the burden of pregnancy prevention on the person who is fertile for 24 hours a month, instead of the person who is fertile for 24 hours a day, every day of their life. It's time to shift the focus and responsibility onto men.

In Powers of Horror, Julia Kristeva offers an extensive and profound consideration of the nature of abjection. Drawing on Freud and Lacan, she analyzes the nature of attitudes toward repulsive subjects and examines the function of these topics in the writings of Louis-Ferdinand Céline, Marcel Proust, James Joyce, and other authors. Kristeva identifies the abject with the eruption of the real and the presence of death. She explores how art and religion each offer ways of purifying the abject, arguing that amid abjection, boundaries between subject and object break down.

Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

A new edition of the feminist classic, with an all-new introduction exploring the role of backlash in the 2016 election and laying out a path forward for 2020 and beyondWinner of the National Book Critics Circle Award • “Enraging, enlightening, and invigorating, Backlash is, most of all, true.”—NewsdayFirst published in 1991, Backlash made headlines and became a bestselling classic for its thoroughgoing debunking of a decadelong antifeminist backlash against women’s advances. A Pulitzer Prize–winning journalist, Susan Faludi brilliantly deconstructed the reigning myths about the “costs” of women’s independence—from the supposed “man shortage” to the “infertility epidemic” to “career burnout” to “toxic day care”—and traced their circulation from Reagan-era politics through the echo chambers of mass media, advertising, and popular culture.As Faludi writes in a new preface for this edition, much has changed in the intervening years: The Internet has given voice to a new generation of feminists. Corporations list “gender equality” among their core values. In 2019, a record number of women entered Congress. Yet the glass ceiling is still unshattered, women are still punished for wanting to succeed, and reproductive rights are hanging by a thread. This startling and essential book helps explain why women’s freedoms are still so demonized and threatened—and urges us to choose a different future.

Burning dinners, stitching "scandalous" quilts, talking "hard" in the male dominated world of rap music---Feminist Messages interprets such acts as instances of coding, or covert expressions of subversive or disturbing ideas. While coding may be either deliberated or unconscious, it is a common phenomenon in women's stories, art, and daily routines. Because it is essentially ambiguous, coding protects women from potentially dangerous responses from those who might be troubled by their messages.

'Victoria Smith is a brilliant writer who every feminist should read' Sharron Davies 'This brilliant book shows how demands for compassion and generosity can be a mask for sexist ideology' Susanna Rustin A brilliantly witty and insightful analysis of how kindness culture is used against women. Using the #JustBeKind trend of the 2020s as a starting point, (Un)kind explores how traditional beliefs about women's 'kind' nature have been repackaged for an age that remains dependent - socially, politically, economically - on female self-sacrifice while finding the concept outdated and essentialist. Looking at the various guises under which kindness culture is sold to women and girls - from play to self-help, social justice activism to empowerment - Victoria Smith argues that the pressure on women and girls has not decreased, but instead been incorporated into the 'work' of feminism. (Un)kind analyses the way in which this phenomenon ultimately distorts relationships, harming not just those coerced into performing 'kindness work' but the supposed recipients of their services. Kindness culture supports the backlash against feminism while claiming to represent feminism's - and women's - true nature. It is, at heart, unkind. 'Erudite, blisteringly smart and profoundly compassionate... A must-read for anyone hungry to understand the origins and dangers of contemporary exhortations to women to #BeKind, and for everyone who wants to live a feminist life' Dr Rachel Hewitt PRAISE FOR HAGS 'The greatest joy of Hags is its lively erudition . . . eloquent, clever and devastating' The Times 'A book that could not be more necessary' Observer 'Brilliantly witty, engaging and insightful' Scotsman

In the introduction to The Second Sex, Simone de Beauvoir notes that "a man never begins by establishing himself as an individual of a certain sex: his being a man poses no problem." Nancy Bauer begins her book by asking: "Then what kind of a problem does being a woman pose?" Bauer's aim is to show that in answering this question The Second Sex dramatizes the extent to which being a woman poses a philosophical problem.This book is a call for philosophers as well as feminists to turn, or return to, The Second Sex. Bauer shows that Beauvoir's magnum opus, written a quarter-century before the development of contemporary feminist philosophy, constitutes a meditation on the relationship between women and philosophy that remains profoundly undervalued. She argues that the extraordinary effect The Second Sex has had on women's lives, then and now, can be traced to Beauvoir's discovery of a new way to philosophize―a way grounded in her identity as a woman. In offering a new interpretation of The Second Sex, Bauer shows how philosophy can be politically productive for women while remaining genuinely philosophical.

Rape does not have to happen. The fact that it does--and in the United States a rape is reported every six minutes--indicates that we live in a rape-prone culture where rape or the threat of rape functions as a tool for enforcing sexual difference and hierarchy. Rape and Representation explores how cultural forms construct and reenforce social attitudes and behaviors that perpetuate sexual violence. The essays proceed from the observation that literature not only reflects but also contributes to what a society believes about itself. Fourteen essays by authors in the fields of English, American and African-American, German, African, Brazilian, Classical, and French literatures and film present a wide range of texts from different historical periods and cultures. Contributors demythologize patriarchal representation in literature and art in order to show how it makes rape seem natural and inevitable. Contributors include: the editors, John J. Winkler, Patricia Klindiest Joplin, Susan Winnett, Ellen Rooney, Coppélia Kahn, Eileen Julien, Marta Peixoto, Kathryn Gravdal, Carla Freccero, Nellie V. McKay, Nancy A. Jones, and Froma I. Zeitlin. Their work raises pressing--and often difficult--questions for feminist criticism.

Nomadic Subjects argues for a new kind of philosophical thinking, one that would include the insights of feminism and abandon the hegemonic mode that is conventionally adopted in high theory. Braidotti's personal, surprising, and lively prose insists on an integration of feminism in mainstream discourse. The essays explore problems that are central to current feminist debates including Western epistemology's relation to the "woman question," feminism and biomedical ethics, European feminism, and how American feminists might relate to European movements.

Pursuing Privacy in Cold War America explores the relationship between confessional poetry and constitutional privacy doctrine, both of which emerged at the end of the 1950s. While the public declarations of the Supreme Court and the private declamations of the lyric poet may seem unrelated, both express the upheavals in American notions of privacy that marked the Cold War era. Nelson situates the poetry and legal decisions as part of a far wider anxiety about privacy that erupted across the social, cultural, and political spectrum during this period. She explores the panic over the "death of privacy" aroused by broad changes in postwar culture: the growth of suburbia, the advent of television, the popularity of psychoanalysis, the arrival of computer databases, and the spectacles of confession associated with McCarthyism. Examining this interchange between poetry and law at its most intense moments of reflection in the 1960s, '70s, and '80s, Deborah Nelson produces a rhetorical analysis of a privacy concept integral to postwar America's self-definition and to bedrock contradictions in Cold War ideology. Nelson argues that the desire to stabilize privacy in a constitutional right and the movement toward confession in postwar American poetry were not simply manifestations of the anxiety about privacy. Supreme Court justices and confessional poets such as Anne Sexton, Robert Lowell, W. D. Snodgrass, and Sylvia Plath were redefining the nature of privacy itself. Close reading of the poetry alongside the Supreme Court's shifting definitions of privacy in landmark decisions reveals a broader and deeper cultural metaphor at work.