La virtud sospechosa: Teresa de Jesús y su condición femenina

ABSTRACT

Teresa de Jesús (1515–1582) lives in a patriarchal society opposed to the intellectual and spiritual development of women, something that she will not only not accept but also fight against, claiming a series of rights (the right to life, to expression, to autonomy, to the free development of her abilities, to have an active role in the Church, to relate to God through prayer, etc.) in spite of the restrictions of censorship and the cloud of suspicion that hung over her for being a mystic, the founder of convents, and the daughter and granddaughter of a converso. Furthermore, Teresa, with her reforms, would present an alternative life for women, as her convents would be spaces for freedom and women's solidarity.     

STALINISM IN RETROSPECT: HANNAH ARENDT

Established writers whose reputation is affixed to a particular line of argument are typically ill disposed to change their minds in public. Some authors sincerely believe that the historical record vindicates them. Others are determined that the historical record will vindicate them. Still others ignore the historical record. Among students of totalitarianism, no one had more at stake reputationally than Hannah Arendt. It is not just that The Origins of Totalitarianism (1951) established her as the premier thinker on its topic. It is also that totalitarianism, as she understood it, ribbons through all of her subsequent books, from the discussion of “the social” in The Human Condition (1958) to the analysis of thinking in the posthumously published The Life of the Mind (1978). How ready was she to adapt or to change entirely arguments she had first formulated as early as the mid‐to‐late 1940s? “Stalinism in Retrospect,” her contribution to Columbia University's Seminar on Communism series, offers a rare opportunity to answer, at least partially, this question. Arendt's foil was the publication of recent books on Stalin and the Stalin era by three Russian witnesses: Nadezhda Mandelstam, Roy Medvedev, and Aleksandr Solzhenitsyn. According to Arendt, the books meshed with her own theoretical conception of Bolshevism while changing the “whole taste” of the period: they contained new insights into the nature of totalitarian criminality and evil. “Stalinism in Retrospect” documents Arendt's arguments and challenges to them by a number of the seminar's participants. Of particular note is the exchange between her and Zbigniew Brzezinski, an expert on the Soviet Union, a major interpreter of totalitarianism in his own right, and soon to be President Carter's National Security Advisor (January 1977–January 1981). Notes by the editor, Peter Baehr, offer a critical context for understanding Arendt's argument.     

Samuel Butler's Sheep

Alice Stopford Green, widow of proto-social and Teutonic nationalist historian J.R. Green, who went on to become an Irish nationalist historian and campaigner, complicates our view of fin-de-siècle women writers. Surprisingly for an amateur historian in an age of professionalization, she took a consciously separatist position, privileging the particular over the general, and defining her writing as both female and Irish.

This article focuses on Stopford Green's 1915 epilogue to her husband's Short History of the English People (1874), and her startlingly anguished periodical article of 1897 from Nineteenth Century, to demonstrate a separatism both bold and self-aware.‘Woman's Place in the World of Letters’ (1897) prefigures Cixous in its call for an écriture feminine. It views women as utterly alien to the established order of this world. Stopford Green at once acquiesces with female essentialisation – ‘woman’ comes in the singular – and undermines it by insisting that woman's true nature is almost never seen. In the ‘Epilogue’ (1915), which updates her husband's narrative to her war-torn present, Stopford Green voices jingoistic rhetoric, but employs unobtrusive asides to distance herself from these calls to imperialism. Through such surreptitious means, she uses her late-husband's popular textbook as the conduit of subversive ideas, both voicing and subverting his English nationalism.     

George Egerton,James Joyce and the Irish Künstlerroman

George Egerton (Mary Chavelita Dunne, 1859–1945), from Co. Laois, was the New Woman author most closely associated with the Decadent movement. As such, she was also the New Woman writer most profoundly affected by the downfall of Oscar Wilde. After the Wilde trials of 1895, Egerton's connection to Decadence and New Womanhood would make her work anathema to much of the British public. This essay will argue that ongoing tendencies to situate her texts solely within the New Woman categorisation and an English cultural location have had the detrimental effect of obscuring their importance to a specifically Irish literary tradition. By examining Egerton's 1898 novel The Wheel of God, focusing on its status as an Irish Künstlerroman written from a position of exile, and drawing comparisons between it and the works of James Joyce, this essay will seek to redress this imbalance.     

Auctoritas as sanctitas: Balthild's depiction as ‘queen-saint’ in the Vita Balthildis

This paper assesses the representation of Queen Balthild of Neustrian Francia in her seventh-century Vita as a new kind of saintly figure, a ‘queen-saint’ rather than as a traditional saint-queen. Balthild made herself unpopular among certain factions of the Frankish nobility during her son's minority by interfering in Church matters. In particular, she compelled bishops to grant episcopal exemptions to monasteries and promoted her own, unpopular, candidates to Neustrian dioceses, leading to her identification as a ‘modern-day Jezebel’ by her enemies, and her banishment to the monastic community at Chelles. Modern scholarship on Balthild, led by Lynda Coon, has assumed that Balthild's biographer was keen to erase from popular memory her actions as queen, actions which could be interpreted as inappropriate behaviour for a saint, and that the Life reflects this by emphasising Balthild's more stereotypical saintly behaviour as a nun once she had retired to Chelles. However, it will be argued that, rather than underlining her humility, the author of the Vita Balthildis was in fact keen to show that her interference in Church matters should be seen as contributing to her identification as a saint, by stressing that her autonomous and authoritative use of her power was actually a positive attribute.     

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.     

Eliza’s Babes: Poetry ‘Proceeding from Divinity’ in Seventeenth–Century England

This article examines the poetry and prose meditations in the anonymous 1652 volume Eliza’s Babes: or The Virgins–offering. The article begins by reconsidering Liam Semler’s recent assertion that Eliza was a Parliamentarian and religiously radical, arguing instead that she was a centrist, loyalist Protestant. The article then examines the handbooks to devotion and meditation from this loyalist tradition that helped define Eliza’s understanding of public and private and how these concepts were gendered. In keeping with writers such as Joseph Hall and Daniel Featly, Eliza views her private devotion as on a continuum which leads to public worship, or ‘thanks’ as she terms it. Eliza uses this paradigm of public and private to justify both the printing of her poems and her very unusual theology of marriage, in which she considers Christ her only true husband. The final section of the article considers whether Eliza’s understanding of public and private offers her more ‘freedom’ than other women writers, and concludes that any judgement of her freedom must be carefully calibrated to the religious and political contexts of her book.     

Compassionate Protector of America: The Symbolism of Old Hickory in a Jackson Woman's Mind

Serving as America's only female newspaper editor during the election of 1832, Anne Royall became possibly the first public “Jackson Woman” by supporting the chief executive's bid for re-election in her sheet titled Paul Pry. A closer look at Royall's recollections from her travels in Alabama from 1818 to 1822 shows her to be a blooming “Jackson Woman” developing before the Jackson party was even conceived. In 1828, Royall's Black Books produced a scathing indictment of American society. Both the Adams and Jackson campaigns actively recruited her for their mud-slinging contest but she declined. Three years later Royall started printing Paul Pry. The Black Books and Paul Pry gave Royall a public voice, and she was not afraid to use it. Between 1818 and 1832, Anne Royall went from being a Jackson admirer to being a public Jackson woman.     

Poison and romance: Oscar Wilde and the strange case of Edith Thompson

Oscar Wilde considered crime and sin no impediment to art or culture, as the case of the poisoner-artist-critic Thomas Wainewright (1794–1847) allowed him to demonstrate. English society of the time, as George Orwell famously declared, was as fascinated by poisoning as was Wilde. One of Orwell's cases was that of Edith Thompson who, along with her young lover, was convicted in 1922 in London of conspiracy to murder her husband whom it was alleged she had tried to poison. She and her lover were hanged in early 1923. Thompson's preoccupation with poison was entangled with her preoccupation with popular romance fiction of the day which she read copiously and discussed perceptively with her lover in the letters that helped to convict her. Her favourite novelist was Robert Hichens, the acquaintance, imitator and caricaturist of Wilde. She quoted Hichens's novel Bella Donna (1909) in letters to her lover, including on the practical matter of poison, which helped convince the jury of her guilt. Her trial, like Wilde's trials – all involving sexual transgression – raised the difficult question of whether literature could poison and influence for the worse its readers or whether it lay outside both morality and the world of action. Moreover, were Thompson's own letters literature and fantasy or were they oblique discussions of practical intent, including the intent to murder? As in the case of Wilde, a larger question supervened. In part through her reading, in part through her own experience, Edith came to believe, even before the murder, that freedom is an illusion, fate an inescapable reality.     

Marie Redonnet's L'Accord de paix: The question of resistance and the turn-of-the-millennium novel

This article discusses how Marie Redonnet's 2000 novel L'Accord de paix addresses the question of resisting the ideology of turn-of-the-millennium consumer society. It takes its bearings from Redonnet's explicit points de repère (Genet's travesty of the symbolic order, Debord's integrated spectacle and Sartrean engagement) and from the intersection of her critical works with Cixous's criture féminine and Houellebecq's Les Particules élémentaires. The discussion identifies how L'Accord de paix converges with and diverges from these writers' differing conceptions of agency, and how Redonnet self-reflexively seeks to counter appropriation by the order she seeks to oppose. Situating the questions of misogyny and difference within the question of resisting turn-of-the-millennium symbolic violence, it reveals a literary commitment that simultaneously harnesses the legacy of the past and makes a travesty of the market-driven symbolic order of the present. The article argues that by transmitting the responsibility for resistance from writer to readers, Redonnet inscribes in storytelling a hope for discovering new bearings for the future.     

The Queen and the City: Royal Female Intervention and Patronage in Hellenistic Civic Communities

In 196 bce , Queen Laodike III issued a decree (I.Iasos 4, I) to Iasos in Caria, Asia Minor, announcing that she was giving the Iasians a ten‐year supply of grain to alleviate their penury after her husband's conquest of their city, and she specified that the grain ought to be sold and the income used to provide dowries for the daughters of poor citizens. This and other donations were part of rebuilding efforts in the wake of military violence by Laodike's husband Antiochos III. For her beneficence, Laodike was honoured by cities with foundations of festivals, priestesses and sacred areas dedicated to preserving her cult. This reciprocity of goodwill was gendered, not only in the establishment of priestesses, but in the nature of the honours given; for example Iasos celebrated Laodike III's birthday with a procession of a maiden priestess and couples who were about to wed (I.Iasos 4, II), and the people of Teos dedicated a fountain in their city centre to Laodike and required that all brides should draw from it the water for their baths (SEG 41, 1003). Laodike's patronage and the cities’ responses to her bring to light the role of female citizens within the structures, perpetuation and ceremonial of the civic body. At the heart of honours given Laodike and her own self‐promotion was the identity of sister and mother, roles shaping her own queenship and the civic participation and power of the women she assisted.     

Hannah Arendt's Mythology: The Political Nature of History and Its Tales of Antiheroes

Current scholarship has focused on analyzing how Arendt's storytelling corresponds to her political arguments. In following up this discussion, I offer a closer examination of the unusual myth Arendt uses to explain the condition of the modern age, a myth she refers to as the “political nature of history.” I employ literary terms along with the standard vocabulary of political theory in shaping this reading of Arendt. Following Robert C. Pirro, I also consider Arendt's story as a tragedy, but in the broadest sense, that of a collision of two goods, freedom and security. By describing Arendt's thought in this manner, I hope to reveal another way in which Arendt represents the call to action that she believes so crucial to humanity, as a summons to we flawed antiheroes through the device of a heroic myth.     

The Limits of Bonhoefferian Responsibility: On Jean Bethke Elshtain's (Mis)Use of Bonhoeffer

ABSTRACT

Jean Elshtain claims that her defense of torture draws from the Christian tradition. To defend this claim, she makes direct appeal to Dietrich Bonhoeffer. Her defense of torture has taken on greater political significance today. This article will refute Elshtain's claim to Bonhoeffer. To do so, this article will first point to Bonhoeffer's explicit rejection of torture in Ethics, then argue that Bonhoeffer's rejection of torture draws from themes initiated in Creation and Fall. Placing Bonhoeffer in conversation with David Decosimo will show that Bonhoeffer holds a distinction between relation-ending and relation-perverting acts. Responsible actors may be called to perform the former class of actions, like tyrannicide, in extraordinary situations. However, the latter class of actions, like torture or rape, constitutes a limit to responsible action that we find no evidence Bonhoeffer is willing to cross. Elshtain, and others who wish to provide “Christian” defenses of torture, must look elsewhere.     

Man,Woman and God in Judg 4

This paper attempts to explain the peculiarities of the Deborah narrative. In contrast to other savior- judges, Deborah is a prophetess, a judiciary, and a woman. Her role as a savior differs from other judges in that she is a high commander, but Barak carries out the actual task of battle. Deborah's rule conveys the lesson that God is responsible for victory. This is why she is presented as a prophet and a messenger of God and her personality is not portrayed in the story at all; rather, she is shown as a well-established judge and therefore an anti-charismatic figure. The emphasis on her status as a woman is meant to prevent her from becoming involved in an actual battle; this is left for Barak to carry out. When Barak demands the presence of Deborah on the battlefield, it might be thought that her presence is necessary to gain victory; then, as in the Ehud narrative, an unhealthy dependency between the people and Deborah might have been produced. Deborah responds with a prophecy that a woman will kill Sisera; in this way she reinforces her prophetic role rather than her personality, rectifying the damage caused by Barak's request.     

Sydney owenson's wild indian girl

In 1811, Sydney Owenson (Lady Morgan) published a novel set in India, The Missionary: An Indian Tale, arguably the first Irish Orientalist text. If, as Madeline Dobie has recently argued, the discourse of Orientalism in France was used to avoid moral questions about colonialism and slavery, Owenson used the genre in order to confront the brutalities of British colonialism. Owenson's intertextuality drew on not only other works about the east, but also her own literary productions and experience of authorship as an Irish woman of undistinguished background performing for an imperial audience. As she did in The Wild Irish Girl: A National Tale, her first publishing success, in The Missionary Owenson exploits just those equivalences imperialism posits among its peripheries. This essay examines The Missionary's intervallic position between the Irish novels The Wild Irish Girl and O’Donnel, and its possible role in the oft-noted shift in Owenson's practice of textualist history.     

Simone Weil's Political Theology

This article suggests that Simone Weil's political theology is characterized by the idea of labor and the event of laboring. I begin by arguing that her thinking is shaped by a materialist reading of Christianity that employs Marx's concepts — labor, capital and alienation — to examine the political implications of three theological ideas, fall, slavery and sin. Next, I suggest that although laboring should be understood as a creative endeavor, Weil argues that it is always conditioned and constrained by a force she terms social matter. This constraint produces what Marx called alienation and Weil will refer to as enslavement (and even sin). Finally, I contend that Weil's idea of labor — and its call for a minimization of constraint — provides a counter-force to social matter. I conclude by suggesting that Weil's labor provides a different way of conceptualizing not just the political subject, but political theology itself.     

The Wiley-Blackwell companion to cultural geography

The Western film genre fosters the mythic view of America as a feminized Eden where one can regenerate or recreate oneself. Westerns typically depict the American countryside as though it were simply a gorgeous framing device for the film's male protagonist whose primary function is to introduce the rough wilderness to the pioneers (or cinematic viewers) who will follow him. In contrast, in the rural femalecentered films of American life— such as Daughters of the Dust, Places in the Heart, Bagdad Cafe, and The Spitfire Grill—the landscape plays a central role. Nature, in fact, generally replaces the powerful male protagonist of the Western. Unlike European movies that also highlight nature's regenerative power, the American films discussed here center on the transformation of the woman. They highlight the Jeffersonian ideal of America as a garden community—one where the female protagonist is regenerated by her ties to the land and by her relationship with those labeled “Other.” She does not conquer or traipse through the cowboy's wild Eden. Rather, she inhabits a nurturing cinematic place that celebrates community and embraces difference.