Expressing Islamic feminism in Mariama Bâ's So Long a Letter

This article examines the presence of a strictly Qur'anic base shaping the Islamic feminism of Ramatoulaye, the narrator and main protagonist of Mariama Bâ's francophone classic So Long a Letter (1979). I argue that the widely circulated insistence by critics and readers of Bâ's epistolary style novel on the practice of Islam in West Africa, particularly in Senegal, as a syncretic presence eagerly adapting to indigenous non-Islamic beliefs and practice, has led to an overly generalized and somewhat inaccurate perception of Islam in Africa. Through my reading of some key Islamic concepts described in Bâ's novel, such as the mirath, polygamy, prayer and sunna, I situate my reading of Ramatoulaye's expression of Islamic feminism within an African and Islamic feminist reading and further position these within the cultural context of the practice of Islam in Senegal. By her ‘strategic self-positioning’, as defined by Islamic feminist Miriam Cooke, among others, within a small group of Senegalese Muslims – locally known as ibadu Muslims – Ramatoulaye succeeds in enacting Islamic feminism in her spiritual persistence for a strict adherence to the Qur'an and in her resistance to the temptation to expand the Islamic precepts of her faith.     

Composing our careers: Susan Hanson's contributions to geography and geographers

Susan Hanson's career exemplifies the notion that our lives are compositions rather than predictable, linear trajectories. In this essay I argue that Susan's career is an empowering example of a collage of woven-together life experiences, substantive research interests, feminist values and progressive professional practices. I illustrate these ideas through three compositions that I trace throughout Susan's career: networking gender; caring geography; and reproducing geography. Susan's work connects and validates the diverse elements of our lives through her scholarship, her commitment to feminist values and her disciplinary leadership.     

A 'Female Columbus' in 1887 America: Marking new social territory {1}

As a self-styled 'female Columbus', E. Catherine Bates took a transcontinental journey across North America with a woman companion in the late 1880s and, on her return to England, published A Year in the Great Republic . This paper, following critical theory approaches to the study of travel writing, explores the ways in which several of Bates's many-layered social identities as a woman of the British e lite class came to the fore in her travel narrative. I argue that Bates constructed her narrative primarily around her shifting gender identities- as 'feminine' and 'feminist'- and suggest that imperialistic writing was less apparent because she was travelling to a place that had an 'empire-to-empire' rather than a 'colony-to-empire', relationship to Britain during its 'Age of Empire'. In this paper I am searching for a middle ground between what I have termed 'modernist' interpretations of women's travel writing and the more recent post-structural interpretations. I make the case that Victorian women travellers' revisionist commentary on gender roles, as well as their observations of domestic scenes, should remain in focus as we continue to mark them for historical study.     

Theodorus Priscianus im lateinischen Oribasius

Recent readings of Fam. 12.16 have revealed that Trebonius' aim in writing to Cicero was the complicated result of anxieties over influence. I extend this complexity to Trebonius' citation of the satirist Lucilius and argue that Lucilius is mentioned for his literary status as well as libertas. Trebonius' satire was, in Lucilian vein, directed at the dead Julius Caesar, and Horace in turn refers obliquely in Satires 1.2 to Trebonius, and Cicero's literary representation of and connection with him.     

Avenging ‘Bridget’: Irish domestic servants and middle-class America in the short stories of Maeve Brennan

This article will examine the representation of Irish women servants in Maeve Brennan's short stories, first published in The New Yorker in the 1950s, and collected in The Rose Garden (2001). The Irish ‘Bridget’, the most publicly visible, if troubling, image of Irish womanhood in late nineteenth- and early twentieth-century America, has received much-needed attention from historians and social scientists in the last decade, and is a central figure in discussions of Irish women and diasporic identity in the American context. Drawing on this body of work, and focusing in detail on key stories from the collection, including ‘The Bride’, ‘The View from the Kitchen’, ‘The Anachronism’, ‘The Divine Fireplace’, and ‘The Servants’ Dance', I argue that Brennan's reimagining of the Irish Bridget can be approached as a form of feminist revisionism, as Brennan's stories enter into a charged dialogue with the history of imagining the Irish woman servant as an undesirable but necessary presence in middle-class American domestic culture. Brennan's self-reflexive reworking of this paradigm is informed by her work as a satirist for The New Yorker, and proves an effective means of writing back to this problematic history, as she takes up recognisable tropes and motifs from earlier representations of Bridget in popular and literary culture, and alters them in knowing and subversive ways.     

The domestic residue: feminist mobility and space in Simryn Gill's art

Feminism, now nearly half a century old, is still fractured by two divisive forms – the desire to emancipate women from masculinist power structures, and the affirmation of woman's sexual difference. However, as Teresa de Lauretis and Gillian Rose argue, for feminism to remain relevant, it must also be attentive to the fluid hegemonic conditions of power, and thus, strive to evolve new ‘forms’, which emphasize feminism's political mobility. Developing this proposition, this article discusses how a new critical feminist mobility may be detected in the work of Sydney-based Malaysian artist Simryn Gill. Born in Singapore in 1959, and hailing from a migrant Punjabi family who first settled in Malaya in the 1920s, Gill constantly travels between her home in Sydney and her family bungalow in Port Dickson, a small coastal town in Malaysia. I will discuss how Gill's feminist perspective may be mapped through the artist's shifting spatial contexts by looking at three spaces – the gallery, the domestic interior and the tropics. Through these spaces, I will explore how the artist occupies the dual roles of ‘woman’ and ‘women’, thus demonstrating the changing and fluid energy of a mobile feminist stance. Gill's art valorizes the domestic sphere as a recurring theme with this subject being central to her self-definition in the public sphere. Yet, her treatment of domesticity is distinct in its furtiveness, a tactic, which I argue, enables a feminist agency that is politically mobile, and capable of engaging issues of gender, sexuality, race, class and citizenship.     

Our Dear Cousins the Americans: Sara Jeannette Duncan in Washington

As a young woman, Canadian author Sara Jeannette Duncan (1861–1922) spent nearly a year writing for the Washington Post on literary and cultural matters, and published many of her assessments of American society in The Week, Goldwin Smith's journal of Canadian affairs. Her articles repay close scrutiny not only for their inherent interest as witty observations of America by an engaged Canadian observer, but also for the manner in which they reveal Duncan's national preoccupations and biases. Approaching the Republic with neither antipathy nor deference, Duncan turned her newspaper sketches into an occasion for wide-ranging cultural comment on the nature of the republican experiment – especially concerning America's claims to freedom and human flourishing. She found the results encouraging, if not without salutary warnings, for Canadian efforts in the same direction.     

Spatial Displacements: Transnationalism and the new social movements

This paper looks at connections between transnationalism and the new social movements in the USA. Drawing on feminist and 'queer theory' critiques of totalising 'lesbian-feminist' and 'radical feminist' arguments, as well as on the neo-Marxist analyses of transnationalism, I argue that it is possible to theorise transnational 'flexible accumulation' in terms of gender, race and sexuality as well as class. I analyse David Harvey's argument about the role of the 'spatial fix' and 'temporal fix' in post-modernity. I compare Harvey's approach to the analysis of post-modernity with Mike Davis's more local/global analytic. I contrast their approaches with the ways that the notion of displacement can be applied to the deconstructive reading of narrative and representational texts. I conclude with an analysis of the way transnationalism is displaced, as multiplanetary capitalism, in C.J. Cherryh's science fiction. Cherryh links the construction of spatialities to ways of constructing gender, species, and sexualities, as well as to changes in the mode of production. Her heroines, too, as translators, knowledge brokers and political intriguers, are centrally involved in the crisis of accumulation in the novels' fictive universe. In this way, Cherryh's fictions, and her heroines' actions, produce an implicit theorisation of accumulation, based on gender, and sexuality, as well as class.     

Writing from the margins: Marina Carr's early theatre

This article analyses Marina Carr's first four plays: Low in the Dark (1989), The Deer's Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities of her work. A study of this phase of Carr's career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr's theatre as a whole.     

Beyond the stereotypes: Mary Lavin's Irish women

This paper discusses Mary Lavin's place within the Irish literary tradition by means of an analysis of her representations of female characters. It argues, first, that Lavin's short stories depart from the short story tradition in general and the Irish short story tradition in particular by failing to subscribe to the cultivation of the romantic outsider and focusing instead on family relations and social responsibilities. Second, Mary Lavin's marginal position in a feminist or female literary tradition is explained through her unwillingness to portray women as victims and through the absence of a clear critique of patriarchy in her work. The paper then tries to characterise the relationship between individual and society in Lavin's short fiction in a more positive way, by focusing on the notions of individual fate and personal responsibility, which turn out to be crucial to Mary Lavin's philosophy. This philosophy is first discussed explicitly in a reading of the story ‘Happiness’ and ‘The Widow's Son’ and subsequently shown to lie behind the oppositions and dilemmas in several other stories. Finally, the article demonstrates how Lavin manages to realise her Nietzschean belief in an Amor Fati in some of her most positive female characters through a clever use of imagery and point of view, without thereby succumbing to sentimentality or cliché.     

The reader as writer,the author as con artist: Nuala O'Faolain and the criminal narratives of Chicago May

Nuala O'Faolain seeks to revise the life story of May Churchill Sharp, an international con woman born in Ireland, in hopes of establishing a feminist identification with her. But O'Faolain's claim for her writing of a kind of authorial authenticity ultimately precludes an identification with Sharp, as Sharp's narrative – like all narratives – is a criminal narrative which renders feminist ‘authenticity’ impossible to achieve, something O'Faolain herself refuses to acknowledge.     

Neoliberalism and gender analysis mainstreaming in Aotearoa/New Zealand

In this article, I explore the impact of neoliberalism on the gender analysis mainstreaming initiative launched in 1996 by the Ministry of Women's Affairs in the government of Aotearoa/New Zealand. I argue that elements of neoliberal discourse worked against the feminist potential of The Full Picture, the instructional document that was developed by the Ministry to assist policy analysts across government in learning how to use gender analysis in all phases of their work. I also review various strategies for fostering the systematic implementation of gender analysis mainstreaming that have been pursued and argue that none of these has yet proven effective, including proposals to encourage the practice of gender analysis by incorporating measures of its use into the performance management framework established through neoliberal reforms to the public service.     

The Levite's Concubine: New Light on a Dark Story

Previous commentators accept that an adulterous wife dared return to her father's house and a benign husband sought to retrieve her, or they stipulate a unique meaning for the phrase . By understanding in a sense attested elsewhere in the Bible, this essay both resolves the crux of implausibility and obviates the need for singular translation. A close literary reading also presents a new interpretation of the entire chapter, demonstrating that the theme of Judges 19 is neither hospitality nor the abasement of women but Israel's Sodom-like abnegation of commitment and compassion down to that last stronghold of security—the family unit. Contrary to other feminist readings, this feminist interpretation reveals the biblical author's empathy toward the concubine, his contempt for the guilty, and his imposition of punishment on the wrongdoers.     

Feminism and its ‘other’: representing the ‘new woman’ of Bangladesh

This essay examines women's oppression and organizing against gender violence in contemporary Bangladesh through the lens of television. I argue that the telefilm Ayna (The Mirror, 2006), written and directed by popular film actor and women's rights activist Kabari Sarwar, offers a window into the changing social and economic landscape of contemporary Bangladesh and the complex negotiations of power and inequality across gender, class and community. Furthermore, it offers an opportunity to unpack the social messages underlying development and modernization initiatives, the new kinds of alliances as well as dependencies engendered by them, and their multiple and uneven consequences. An investigation of the representations of competing and contradictory notions of women's subjectivity and agency in this telefilm allows us to understand how these intersect with shifting notions of local/global patriarchies, feminist solidarity and women's empowerment in Bangladesh today. Further, this essay illuminates the disjunctures between representations of the ‘new woman’ circulated through development and certain feminist advocacy narratives with women's lived realities of oppression, and survival.     

Confronting Contradictions: Genre Subversion and Feminist Politics in Agnès Varda's L'une chante,l'autre pas

French filmmaker Agnès Varda's career has been largely defined by contradiction. She is acknowledged as influential, yet often discussed independently from the advanced filmmaking practices and intellectual debates of her New Wave generation. Her musical, L'une chante, l'autre pas, was particularly misunderstood: film critics and feminist scholars praised the film's feminist storyline, but found that the unexpected musical numbers undercut the seriousness of the feminist message, resulting in a film that is ultimately incongruous. Through archival excavation of Varda's sources, I argue that the film's incongruity was in fact intentional, an expansion of advanced filmmaking theories and strategies, in dialogue with influential Brechtian texts and contemporary feminist debates. This essay reveals specific social and economic factors that influenced the production and reception of the film and reconsiders apparent contradictions in Varda's career.     

‘I am going,with or without you’: autonomy in Bolivian transnational migrations

Autonomy has often been seen as a precondition for achieving gender equality, yet feminist scholarship has been rather ambivalent towards it. In this article, I explore this ambivalence by drawing on the experiences of migrant women, particularly mothers, focusing on the ways in which they negotiated their mobility with their partners. By analysing women's experiences of migration within a context of multi-sited and longitudinal, itinerant ethnography, I historicise their life accounts and place them within a broader framework of social and economic structural changes. On this basis I explore the concept of autonomy, particularly in relation to the exercise of women's agency within a context of market-oriented neoliberal reforms. I also question the potential of women's autonomy for gender equality and argue that there are at least two reasons for feminist scholars to continue being ambivalent towards autonomy.     

Andrea's Baggage: Reading (in) Laforet's Nada

One overlooked feature of Andrea's arrival in Barcelona at the beginning of Nada is the old and battered suitcase that she drags with her to her relatives’ apartment. It is filled almost entirely with books, books that—we may assume—she has read and plans to read again. Reading, it is clear, has played a large part in her intellectual and psychological formation as a teenager, but one of the strands of her overall maturation process during the forthcoming year will involve achieving a greater understanding of the distortions involved in how people (including her) see life through the optic of literature and literature through the optic of life. Gradually disabused of her overly literary adolescent imaginings, then, she eventually becomes a writer—of the text that is Nada—who is well aware of the traps that reading and writing hold.     

J. Casely Hayford’s Social Imaginary of “Church Universal” in William Waddy Harris the West African Reformer: The Man and His Message (1915)

A close reading of J. Casely Hayford’s tract William Waddy Harris The West African Reformer: The Man and His Message (1915) provides insight into the political considerations accounted for in writing histories of world Christianity during the colonial period. Hayford centres Africa and William Waddé Harris in a social imaginary that critiques Europe as the exclusive centre of religious reform and renewal. I argue that Hayford employs methods of analysis, rhetorical devices, and literary interlocutors that reflect his African positionality within the early colonial period. To this end, I argue that Hayford’s tract reconceives a history of world Christianity that predates the organised study of missions, ecumenics, and world religions. Without dismissing the contributions of these fields to the emergent field of World Christianity, Hayford’s colonial positionality lends him a contrasting and precarious double consciousness with which to the re-imagine a discourse of universal Christianity through and out of West Africa.