Mourned Choices and Grievable Lives: The Anti‐Abortion Movement's Influence in Defining the Abortion Experience in Australia Since the 1960s

This article provides a genealogy of foetocentric grief, an emotion that permeates accounts of abortion in Australia across multiple discursive sites. Foetocentric grief represents women as indelibly mourning their ‘unborn children’ after abortion. The emotion first came to prominence in anti‐abortion activism of the mid‐1980s. Focus on the purported consequences of abortion for women enabled anti‐abortionists to respond to charges that they were unsympathetic towards women who have abortions. Foetocentric grief also transcribes the primary claim of the anti‐abortion movement – that abortion entails a mother's destruction of her unborn child – onto the very experience of abortion. Since the mid‐1980s, foetocentric grief has moved outside the anti‐abortion movement to dominate accounts of the abortion experience in the print media as well as, surprisingly, mainstream pro‐choice activism. This article maps the convergence of these trends and examines the political and regulatory effects of foetocentric grief. It argues that foetocentric grief is a culturally enforced emotion that discursively recuperates the figure of the aborting woman to normative regimes of pregnancy and femininity, where pregnant women are envisaged as already mothers to autonomous foetal‐subjects.     

The Shadow of Napoleon

A number of critics have drawn attention to the increased number of violent women in film, media and literature and to the apparent collusion between women and violence in women's own fiction. This article examines three autofictional works by Duras, Hyvrard and Cixous to see to what extent, and in what ways, these ‘textes de sang’ rewrite and rework incidents of violence in the individual and the family, of self-mutilation and imperialism, and of illness, grief and mourning. In each case, a variety of narrative techniques is employed which enable the writer to engage with, and emerge from, identities affected by violence. In all three cases, the violent fracturing of identity into ‘je/s' and ‘elles' is co-opted into a strengthened authorial voice and a new, uncollusive persona.     

Cultural policy as mythical narrative

ABSTRACT

In this paper, we argue that policy assumptions are shaped by mythical narratives carrying underlying beliefs and values. Drawing on narrative studies, organisational theory and Gramsci’s cultural hegemony theory, we examine how sense-making narratives create consensus, how they imply causation and individual agency, and finally how narratives fragment to reveal alternatives to hegemonic ‘common sense’ assumptions. Applying this framework to cultural policy we examine the place of mythic, sense-making narratives in the historical development of foundational national cultural policies in the UK and Mexico – respectively, narratives of ‘the civilising mission’ and ‘social transformation’. We then consider narrative emplotment and individualisation underpinning assumptions about individual creativity in the UK creative industries policy. Finally, we address the postmodern turn in narrative studies, showing how fragmented, polysemous narratives fracture cultural policy into ‘personalised truths’ and give voice to other, counter-hegemonic perspectives. We conclude by proposing an agenda for narrative research in cultural policy.     

Parental Grief and Mourning in the Ancient Andes

Parental grief is an intense emotion shaped and mediated by cultural attitudes toward death, the strength of parent-child attachment, the age of the deceased child, and the role of children in society. Despite some assertions that high infant mortality or economic hardship may lessen parental grief, cross-cultural studies show that child death often causes emotional distress to parents, in particular mothers. Funerary treatments of children, especially infants, are often simplified, contradicting more immediate and immaterial expressions of parental grief that cannot be studied archaeologically. In this study, I examine the funerary treatment of children in ancient Andean Tiwanaku society (A.D. 500–1100). I assess the use of ritual practices and objects associated with children’s burials as indicative of children’s social identities and parental mourning. The nature of grave assemblages in regard to different ages of the children suggests that parental attitudes toward their children changed over the course of childhood. The choice of offerings seems to reflect parental attachment to and recognition of the child’s life. Modifications of ceramic vessels point to the intimate mourning gestures of grieving mothers who sought to provide their deceased children with the necessary offerings to assume their place among the community of venerated ancestors. This study draws on ethnographic, psychological, and ethnohistoric sources of parent-child bonds in the Andes and beyond to investigate children’s burials not merely as reflective of childhood and children’s role in society but as the material record of parental attachment and emotion in the past.     

Anatomy of the national myth: archetypes and narrative in the study of nationalism

This paper argues that recognising types of underlying narrative form which repeatedly occur across cases is critical to the study of nationalism. It proposes a method borrowed from the literary theory of Northrop Frye – archetypal criticism – for identifying the four basic forms of emotional architecture that characterise the myths of particular nations: tragic, romantic, comic and satiric. The study of nationalism has long acknowledged the importance of narrative in political behaviour. But consideration of how distinct types of narratives affect specific emotions is missing. The ‘narrative turn’ in the social sciences, which has responded to instrumentalist scepticism, has thus far focused on the cognitive functions of narrative. That is, how narrative influences the acquisition and interpretation of information and how stories are used to construct or reinforce a collective understanding of events. The undertheorised dimension of narrative in nationalism relates to the emotional structures embedded within narrative. This is where this paper makes its contribution.     

Personal lives: narrative accounts of Irish women in the diaspora

The burst of writing about Irish women in the diaspora after the 1980s, led by Mary Lennon, Marie McAdam and Joanne O'Brien's Across the Water: Irish Women's Lives in Britain, coincided with the ‘narrative turn’ in the social sciences and literary representation. This paper uses Carol Smart's concepts of Personal Life (2007) – memory, biography, embeddedness, relationality and the imaginary – to examine a range of ways in which personal narratives have become central to our understandings of Irish women and their descendants in both written and visual representations. It interweaves disciplines, bringing together a wide range of sources including academic and public accounts in which Irish women appear both as main characters and in walk-on parts. It explores constructions of these ‘fictions’ and their connections with the biographies of authors.     

Down to Now: Memory,Narrative, and Women's Leadership in the Civil Rights Movement in Atlanta,Georgia

This paper is a case study of African-American women’s leadership. It documents women’s involvement in a voter registration drive in 1946 and traces the develop-ment of an ‘official history’ of that event that emerged in the ensuing decades. This narrative shifted emphasis from the organising leadership that both women and men exhibited to a form of leadership – success in electoral politics – that pertained almost exclusively to men. Concluding remarks address the relevance of memory and narrative for writing the history of women’s leadership.     

Mapping grief. A conceptual framework for understanding the spatial dimensions of bereavement,mourning and remembrance

This paper highlights the significance of the spatial dimensions of the universal human phenomena of bereavement. Grief, mourning and remembrance are experienced in and mapped upon (i) physical spaces, including the public and private arenas of everyday life; (ii) the embodied-psychological spaces of the interdependent and co-producing body-mind and (iii) the virtual spaces of digital technology, religious-spiritual beliefs and non-place-based community. Culturally inflected, dynamic emotional-affective maps of grief can be identified, as a form of deep-mapping, which reflect the ways in which relationality to particular spaces and places is inflected by bereavement, mourning and remembrance. Individual’s emotional-affective cartographies can intersect, overlap, or conflict with, others’ maps, with social and political consequences. The conceptual framework outlined here is illustrated by a schematic representation of grief maps. This framework provides geographical scholars with a lens on the dynamic assemblage of self-body-place-society that constitutes culturally inflected individual and shared everyday grief maps, providing insight to relational spaces, emotional-affective geographies and therapeutic environments. The reflexive identification of such maps represents a potential resource for the bereaved and their therapeutic counsellors, facilitating the identification of places which evoke anguish or comfort etc. and which might be deemed emotionally ‘safe’ or ‘unsafe’ at particular junctures.     

“Northern Girls”: Cultural Politics of Agency and South China’s Migrant Literature

Abstract:

This paper is concerned with the cultural politics of agency, and explores the relationship between cultural form, migrant experience and social change. It traces the emergence of a range of literary forms in south China and how these new cultural forms provide hitherto unavailable space to contest the state- and market-driven narratives, which tend to link dagongmei’s (rural migrant women’s) sexuality with inexperience and vulnerability on the one hand, and criminality, immorality and incivility on the other. The paper suggests that these newly emerging cultural forms present alternative perspectives on the practical circumstances, moral rationalities and emotional consequences that condition and shape migrant women’s sexual experience, and for this reason, they constitute important points of intervention.     

“Did that play of mine …?”: James Connolly,Cathleen Ni Houlihan and staging revolution

Abstract

Despite the crucial position he occupies in Irish history as one of the leaders of the Easter Rising, and the political – and emotional – impact of his subsequent execution, while wounded, by the British Army on 12 May 1916, the writings of Edinburgh-born James Connolly have often been overlooked in both Irish and Scottish studies, and not just in accounts of the Rising but also in the wider context of cultural connections, including cultures of commemoration. In particular, Connolly’s surviving literary work, including Under Which Flag?, the drama staged on the eve of Easter 1916, as well as poems and songs, has had limited attention. This article reconsiders Under Which Flag? in comparison with Yeats and Gregory’s Cathleen ni Houlihan in order to demonstrate the central place the drama holds as a continuation – and complication – of Connolly’s political and journalistic writings. If Connolly is a neglected figure as a writer – as opposed to a political leader and martyr – then the play he left behind (once thought to have been lost, like another of his dramas, The Agitator’s Wife) affords us an opportunity to reassess his contribution to the struggle for independence as part of its literary wing.     

Imagining the absent dead: rituals of bereavement and the place of the war dead in German women's art during the First World War

Drawing on women's visual responses to the First World War, this article examines female mourning in wartime Germany. The unprecedented death toll on the battlefronts, military burial practices and the physical distance from the remains of the war dead disrupted traditional rituals of bereavement, hindered closure and compounded women's grief on the home front. In response to these novel circumstances, a number of female artists used their images to reimagine funerary customs, overcome the separation from the fallen and express acute emotional distress. This article analyses three images produced during the conflict by the artists Katharina Heise, Martha Schrag and Sella Hasse, and places their work within the civilian experience of bereavement in war. By depicting the pain of loss, female artists contested the historical tradition of proud female mourning in German society and countered wartime codes of conduct that prohibited the public display of emotional pain in response to soldiers’ deaths. As a largely overlooked body of sources, women's art adds to our understanding of the tensions in wartime cultures of mourning that emerged between 1914 and 1918.     

Darwin Wept: Science and the Sentimental Subject

Could a man of science be sentimental in an age of objectivity, when emotions were largely purged from the field of Victorian science, and feelings themselves defined as animal instincts and reflex mechanisms? This essay addresses the question through Darwin's work on the expression of emotions, and the relationship between his work and his own emotional experience, with particular attention to grief and tears. An old woman in a railway carriage is suddenly overcome with a painful recollection, perhaps that of a long lost child – her mouth becomes ever so slightly contracted, her countenance falls, her eyes suffuse with tears … . An opthalmic surgeon perseveres with his treatise on the physiology of weeping while mourning the loss of his daughter … . With difficulty, a mother prolongs her infant son's screaming in order to record the shape of his mouth for a family friend and famous naturalist … . Her observations later appear in a work on emotional expression (Darwin's), together with photographs of sobbing children, and faces of a psychiatric patient charged with electrodes. Such subject matter, presented in correspondence, private journals, and print, suggest that science and sentimentality could form a more reciprocal pair, where observation was conducted in a sentimental setting, the feelings of observers regulated but not withheld, processed by an experimental regime, and then reinserted in the domain of print, reconfiguring the sentimental for Victorian readers.     

‘None but Abigails appeared in white aprons’: The Apron as an Elite Garment in Eighteenth-Century England

In the early eighteenth century, the Duchess of Queensberry arrived at the Bath Assembly wearing a white apron, only to have it torn from her person by a Master of Ceremonies who declared that only a lady’s maid would appear dressed so. This article looks at the apron as a garment worn by elite women in eighteenth-century England in order to consider some of the questions raised by this encounter. Aprons were closely linked with the labouring classes in contemporary representation, and elite women wearing them were therefore accused of imitating the dress and behaviours of their inferiors. While emulation from below has received due attention from scholars, this apparent imitation from above remains underexplored. Elite women certainly did masquerade as country girls at times; however, the apron as an item of elite dress was not as transformative as contemporaries feared. Instead, it became subject to expectations and conventions governed by the rhythms of elite everyday life. Though the Duchess of Queensberry became infamous, elite women wearing aprons were most likely to provoke censure when they defied these conventions.     

Jacobitism and the English people, 1688–1788

This essay investigates the marginalisation in eighteenth-century literary theoretical discussions of a category of emotion, ‘the affections’, which plays a significant role elsewhere in eighteenth-century thought, especially in moral philosophy and theology. It proposes that affections are incompatible with a series of principles that underpin dominant concepts of the literary in early and mid-eighteenth-century literary criticism by authors including Kames, Burke, Alison, Duff, Brown, Du Bos, Trapp and Beattie, many of whom were associated with the Scottish Enlightenment. By analysing eighteenth-century theories of the perceived obscurity of literary emotions in comparison with the emotions of the other fine arts (in particular, painting and music), and by highlighting the perceived distinction of literary emotions from what theorists of the period term ‘reality’, it shows how the supremacy of the belief that literary merit is tied to the individuality, particularity, and plausibility of represented emotion gives rise to a prioritisation of passions over affections in literary critical discussions about the emotions.     

OPÉRA-COMIQUE,CULTURAL POLITICS AND IDENTITY IN SCANDINAVIA 1760–1800

As a contribution to the history of public life and cultural practice, this article examines the political and social implications of the fondness for French comic opera in Scandinavia between 1760 and 1800. The urban elites’ interest in opéra-comique is examined as a part of the self-fashioning processes of mimetism and distinction, but also as a way to consolidate the community. Opéra-comique was promoted by the literary and diplomatic elites. It became important for the cultural politics of the Scandinavian monarchies as well as for intellectual milieus able to propose alternative models for life in society. The appropriation of opéra-comique by an expanding public transformed the nature of the supposedly aristocratic and cosmopolitan genre, which became an element in the defining of new bourgeois and patriotic identities. With a cross-disciplinary and transnational perspective on eighteenth-century Northern Europe, the article underscores the links between politics, patronage and literary sociability, and shows that opera and music, in eighteenth-century Scandinavia, were much more than artistic issues.     

The rediscovery of the Spanish Republic of Letters

This article provides a reappraisal of the history of proyectismo. Scholars have employed the concept to categorise early eighteenth-century Spanish authors and reforms, and have thereby severed them from their historical context. This article explores the imperial origins of this political culture by shedding light on the generation of knowledge in early eighteenth-century diplomatic and imperial spaces. The article focuses on the overlooked thinker Álvaro José Navia-Osorio y Vigil, Marquis of Santa Cruz de Marcenado (1684–1732) – long considered to be a proyectista – and his appeal to the Spanish Republic of Letters to assist him in his project for a universal dictionary; an enterprise that predated Chamber’s Cyclopedia and Diderot and D’Alembert’s Encyclopédie. Marcenado’s contributions to the establishment of Spanish intellectual connections with foreign thinkers were, moreover, symptomatic of the political approach of early eighteenth-century ilustrados – transterritorial, transnational, and transversal thinkers who drew on the peninsula’s ties with the Flanders and Italy to revitalise the intellectual life of Spain. These thinkers recovered the study of Muslim Spain, and envisioned the establishment of councils and academies in Mexico and Peru. The Spanish Enlightenment, then, originated in the early eighteenth-century from their rediscovery of the Spanish Republic of Letters.     

Women and the Nationalisation of Literature: Text and Image as Parallel Narratives with Multiplied Meaning in a Hindi Periodical (1927–1941)

The early twentieth century is a period in colonial Indian history marked, among other things, by nationalist explorations of what was commonly described as the upper middle‐class, Hindu high caste ‘woman's question’. In the process, gender roles and responsibilities in public and private spheres were being contemplated and negotiated in oral and written forms. This essay explores the text‐image combinations and relationships in a mainstream Hindi literary periodical published in North India in the 1930s. It focuses specifically on the gendered visual narrative that emerged from this periodical's engagement with the role of women in the Hindi public and private spheres. It argues that through the combination of text and image, the reader of the Hindi periodical Sudha was presented with verbal and visual messages that were deeply embedded in debates on literary and cultural nationalism.     

All Ranks Behaved Splendidly: Scottish Unit Histories of the Great War, 1916–1936

Scottish military units were strongly represented among the outpouring of unit histories that followed the Great War. A neglected genre, these works stand as cultural as well as military landmarks, expressing the private grief, but also striving to convey the importance and validity of the recent experience of war. The discussion that follows begins by explaining the aims and motivations behind Scottish unit histories. It then considers the mechanics of their commissioning, publishing and writing, before moving on to analyse the style, structure and key narrative themes of these works. It concludes by asking why, unlike the poetry, novels and personal memoirs which addressed the war, these ‘war books’ failed to become part of the common literary currency through which the Great War was later remembered. The article is accompanied by a comprehensive bibliography of these works.     

Between Fantasy and Philosophy: Saʿdi,Translator of Voltaire’s Zadig

Zadig ou la Destinée opens on a preface supposedly written by Sadi (sic), who seems to suggest he is the translator of the story which is to follow. The article will investigate the role played by Voltaire’s reference to Sa?di in Zadig as an Oriental prop for the narrative’s exotic setting, but also, more importantly, as participating in its philosophical content. Travelers’ accounts had brought growing interest in Persia, and Sa?di would not have been unfamiliar to an educated public; the Orient more generally became an experimental space for Enlightenment thought. Playing on the notion of the translator as cultural bridge, the article examines the uses Voltaire makes of Sa?di in Zadig and whether these correlate to the eighteenth-century French reader’s perceptions of the Iranian poet.