AG Sagef 2020

L’Assemblée générale annuelle de la SAGEF se tiendra demain, mercredi 25 novembre à 18h sur Zoom (lien et ordre du jour envoyés par email).

Nous souhaitons en profiter pour initier une réflexion collective pour proposer des activités de recherche « Covid-compatibles » pour la SAGEF : chèr·es Sagefistes, n’hésitez pas à proposer vos suggestions !

CFP: Photography and Resistance – MAI: Feminism & Visual Culture


MAI: Feminism & Visual Culture invites authors with expertise in visual and cultural studies, as well as in related disciplines, to contribute to our new focus issue on photography and resistance. The issue will be co-edited with Dr Kylie Thomas, a Marie Skłodowska-Curie, Research Fellow at the Netherlands Institute for War, Holocaust and Genocide Studies.

We are particularly interested in contributions that critically illuminate the lives and work of women and non-binary photographers, particularly those who have drawn on the insights and practices of intersectional feminism and anti-racism.

Background & Inspiration

Photography, as Yvonne Vera writes, ‘has often brought forth the most loaded fraction of time, a calcification of the most unequal, brutal, and undemocratic moment of human encounter’ (Vera 1999). It has also been used as a form of resistance to repressive regimes, to oppose war and violence, and as a means of challenging heteronormative patriarchy. It can serve as a tool of critique, granting visibility to events, people or demonstrations of power that are otherwise not intended to be seen. And, feminist and LGBTQ+ photographers have taken up cameras to produce entirely new visual vocabularies, to reimagine the world and challenge hegemonic ways of seeing.

How women and non-binary photographers made use of the medium as a form of resistance came into clear view at the time of the Second World War. One example of photographers working at that time was Claude Cahun, whose photomontages reinvented the human form and refused normative conceptions of the body.

In 1937, Cahun moved to the Isle of Jersey with her partner Suzanne Malherbe, who practised as an artist under the name Marcel Moore. From the start of the German occupation of the island in July 1940 until they were arrested in 1944 and sentenced to death for their resistance activities, Cahun and Moore produced pamphlets and visual materials that they distributed across the island in defiance of the Nazi occupation (Thynne 2010).

Elsewhere, photographers such as Emmy Andriesse, Eva Besnyö and Violette Cornelius formed a photographers’ organisation in the Dutch resistance movement, known as De Ondergedoken Camera (The Hidden Camera). And, once she obtained forged papers, Andriesse, who was Jewish, documented the occupation of Amsterdam at the risk of being murdered by the Nazis (Baring 2013).

Later, in the United States, Doris Derby, Diana Davies, Ruth-Marion Baruch, and Maria Varela documented the Civil Rights Movement (Speltz 2016).

In the US, Nan Goldin’s intimate portraits of her friends, shot over several decades and through the height of the HIV/AIDS pandemic, refused state-prescribed moralising and the silencing of alternative forms of kinship (Junge 2016).

Another visual activist, Zanele Muholi has used photography as a way not only to honour the lives of LGBTQI+ Black Africans, but also as a form of advocacy in campaigns against homophobic hate crimes (Baderoon 2011; Lewin 2019).

More recently, Nona Faustine’s ‘White Shoes’ series (2014) consisted of images of the artist in locations around New York City that evoked the repressed history of slavery in the United States. Her work reclaimed the Black female body as a source and site of resistance against the violence of both the past and the present (Diabate 2020).

By no means has such work been limited to the West. For example, Her Pixel Story in Kashmir, the Thuma Collective in Myanmar, and the Kaali Collective in Bangladesh are contemporary photography collectives making use of the medium to resist repressive regimes.

In South Africa, the 1980s saw Lesley Lawson, Deseni Moodliar, Zubeida Vallie and Gille de Vlieg joining Afrapix, the anti-apartheid photography collective. Many of their images drew attention to the vital role played by women in the struggle for freedom in South Africa (Lawson 1985; Comley, Hallett & Ntsoma 2006).

In the last decade, women and non-binary activist-photographers have taken part in resistance movements across the world, from the Arab Spring to Black Lives Matter. Recent exhibitions, such as ‘Still I Rise: Feminisms, Gender, Resistance. Act 2’, at the De La Warr Pavilion (2018), ‘Another Eye: Women Refugee Photographers’ in Britain after 1933 at Four Corners (2020), and a major solo show of the work of Zanele Muholi at the Tate Modern, (2020), all testify to the growing interest in this field.

However, the ways in which women and non-binary artists, writers, (art) historians, thinkers and activists have made use of photography as a form of resistance remain under-researched. Therefore, to contribute to the field of feminist studies, this focus issue of MAI intends to honour female resistance in photography and critically engage with such work via contemporary and historical analysis.

Suggested (but not Exclusive) Areas of Examination:

Feminist/LGBTQI+/anti-racist artists and activists’ photography as a form of resistance (formal, content, discursive & circulation analysis)
Women and non-binary photographers documenting conflict, protest and political violence
Circulation and reception of photographs by women and non-binary photographers during times of conflict and war (feminist publications/posters/activism/resistance archives)
Women and non-binary photographers who participated in resistance movements during the Second World War
Women and non-binary photographers who formed part of, and documented anti-hegemonic (anti-colonial, anti-communist, anti-capitalist, anti-apartheid) struggles
Photographers who have visualised their bodies as forms of resistance to racist, heteronormative patriarchy (such as Berni Searle, Nona Faustine, Zanele Muholi)
Photographers whose work provides a form of resistance to cultural amnesia and systemic erasures
Contributions that focus on the under-researched topic of the work of women and non-binary photographers from the Majority World.
300-500-word Abstracts Deadline: 12 December 2020

Full Articles Deadline: 30 May 2021

MAI considers submissions in the following formats:

academic research articles (6000-8000 words)
interviews (1000-3000 words)
creative writing (poems, short stories, creative responses, max 3000 words)
video essays (5-10 min + a brief supporting statement 800-1000 words)
photographs, visual/audiovisual or interactive art
All articles will be peer-reviewed.

Proposed publication date: the first half of 2022.

MAI formatting guidelines: https://maifeminism.com/submissions/ 
Please send your abstracts to kyliethomas.south(at)gmail.com & contact(at)maifeminism.com

Blak Feminism. Rapports sociaux de sexe et de race dans la poésie et l’art contemporains des Premières Nations d’Australie

Nous vous informons de la soutenance de la thèse de doctorat de Mylène Charon, « *Blak Feminism*. Rapports sociaux de sexe et de race dans la poésie et l’art contemporains des Premières Nations d’Australie ».

La soutenance aura lieu jeudi 22 octobre 2020 à 9h à l’université de Cergy

Le jury sera composé de :

Rémi Astruc, Professeur, Université Cergy-Paris (Directeur de thèse)

Sylvie André, Professeure, Université de Polynésie française (Rapporteure)

Sylvie Brodziak, Professeure, Université Cergy-Paris (Examinatrice)

Xavier Garnier, Professeur, Université Sorbonne Nouvelle – Paris 3
(Rapporteur)

Bronwyn Winter, Professeure, The University of
Sydney, Australie (Examinatrice)

Résumé de la thèse :

La situation des femmes dans les colonies et celle des peuples Autochtones dans les colonies de peuplement est mentionnée dans les études postcoloniales, mais souvent à titre de question secondaire. Elle se trouve au cœur de cette thèse, qui porte sur les littératures contemporaines d’un groupe social dont l’expérience du sexisme est toujours en même temps
façonnée par celle du racisme, les femmes des Premières Nations d’Australie. En s’appuyant sur un corpus large, composé d’œuvres de plus de trente artistes et autrices dont elle fait apparaître les liens intertextuels, elle affirme l’existence d’un positionnement collectif féministe blak, d’après l’auto-définition Autochtone qui prévaut en Australie depuis les années 1990. Le corpus permet donc d’observer la manière, additive, intersectionnelle ou consubstantielle, dont de multiples oppressions sont représentées. Il vise ainsi une meilleure compréhension des réserves des femmes Autochtones australiennes à l’égard d’un certain féminisme blanc, en les mettant en perspective avec les critiques adressées depuis les années 1980 par les féministes noires anglo-américaines au féminisme hégémonique. Les liens entre politique et littérature y sont repensés, à la faveur de l’analyse de la résistance à l’impérialisme et au patriarcat, telle qu’elle s’exprime dans ces canaux alternatifs que sont la poésie et l’art contemporains. Les textes, sélectionnés pour leur force d’interpellation et leur portée intersubjective, engagent enfin une réflexion sur les positions d’objet et de sujet de la recherche, à partir de la situation de la chercheuse et ses implications sur la production de savoirs.

CFP: Patriarchal backlashes to feminism in times of crisis (EJES)

Call for papers for EJES Volume 26 (2022)

The editors of EJES are issuing calls for papers for the three issues of the journal to be published in 2022. Potential contributors are reminded that EJES operates a two-stage review process. The first is based on the submission of detailed proposals (up to 1,000 words) and results in invitations to submit full essays from which a final selection is then made. The deadline for essay proposals for this volume is 30 November 2020, with delivery of completed essays in the spring of 2021 and publication in Volume 26 (2022).

Procedure

EJES operates a two-stage review process.

  1. Contributors are invited to submit proposals for essays on the topic in question by 30 November 2020.
  2. Following review of the proposals by the editorial board panel, informed by external specialists as appropriate, the guest editors will invite the authors of short-listed proposals to submit full-length essays for review with a spring 2021 deadline.
  3. The full-length essays undergo another round of review, and a final selection as well as suggestions for revisions are made. Selected essays are then revised and resubmitted to the guest editors in late 2021 for publication in 2022.

EJES employs Chicago Style (T&F Chicago AD) and British English conventions for spelling.

Patriarchal backlashes to feminism in times of crisis

“Plus ça change, moins ça change.”

Guest editors: Florence Binard (University of Paris) and Renate Haas (University of Kiel)

Susan Faludi’s bestseller Backlash was first published in 1991, nearly 30 years ago, and yet its message seems to resonate more clearly than ever. It highlighted the pervasive and prevalent reaction of patriarchy (defined broadly as a system of society based on male domination) to the advance of women’s rights. Faludi analysed glossy magazines, movies, TV programmes, the New Right’s war on women, and the neofeminist stance as well as “polished” political discourse and showed that whatever the medium/organ/channel, women from all walks of life were openly or insidiously coaxed and cajoled into fulfilling their so-called natural role as homemakers.

Since then, new technologies and their channels of dissemination have proven to be useful tools for women and feminists to spread their views. But these means of communication are also the vehicles for antifeminist propaganda which is damaging to women’s rights. The achievements of the past are under threat in a growing number of countries if they have not already been reversed. This includes the right to contraception, abortion, education, work, etc. “Freedom of” and “freedom to” remain never-ending battles for women all over the world.

This special issue asks what has happened in Europe between the publication of Faludi’s book and the present in terms of backlash.

Researchers from the different parts of Europe and all disciplines included in ESSE are invited to submit essay proposals. Some of the topics might include:

  • Identifying “true” feminist politics in contemporary society
  • Universal rights versus group rights
  • Accusations of cultural appropriation/state multiculturalism vs women’s rights
  • Untruths used and abused in the current social discourse
  • Visual discourse in advertisement
  • Anti-feminist governmental practices
  • Internet trolls

Detailed proposals (up to 1,000 words) for full essays (7,500 words), as well as a short biography (max. 100 words) should be sent to the editors by 30 November 2020:
Florence Binard (fbinard@eila.univ-paris-diderot.fr) and Renate Haas (haas@anglistik.uni-kiel.de).

COLL: « How Long Must Women Wait for Liberty? »

Nous vous rappelons la tenue prochaine du colloque international « ‘How 
Long Must Women Wait for Liberty? »: Woman Suffrage and Women’s 
Citizenship in the Long History of the 19th Amendment », qui aura lieu à 
Lille les 8 et 9 janvier (Maison Européenne des Sciences de l’Homme et 
de la Société) et à l’Université Paris-Est Marne-la-Vallée le 10 janvier 
2020.

Vous trouverez le programme complet sur le site du 
colloque : https://nineteenth.hypotheses.org/

L’entrée est libre et sans inscription nécessaire, mais l’accès aux 
déjeuners est réservé aux participant.e.s.

Ce colloque a reçu le soutien des institutions suivantes: CECILLE 
(EA4074), CERAPS (UMR 8026), Institut des Amériques, Institut 
Universitaire de France, LISAA (EA 4120), Maison Européenne des Sciences 
de l’Homme et de la Société (Lille), Université de Lille, Université 
Paris-Est Marne-la-Vallée.

Organisation : Audrey Célestine (IUF, CERAPS, UdL), Claire Delahaye 
(LISAA, UPEM), Simon Grivet (CECILLE, UdL), Nicolas Martin-Breteau 
(CECILLE, UdL), Hélène Quanquin (CECILLE, UdL), Fatma Ramdani (CECILLE, 
UdL) (avec l’aide de Marine Gomes et Merrine Vanhille).

CFP: Sites of Feminist Memory

Sites of Feminist Memory: Remembering suffrage in Europe and the United States of America

Conference dates: 12-13 May 2020 – Aix en Provence

Keynote speaker:
Dr Sharon Crozier-de Rosa (University of Wollongong), co-author of Remembering Women’s Activism
, Routledge, 2019.

On April 24th 2018, suffragist leader Millicent Garrett Fawcett became the first woman to be honoured with a permanent statue in Parliament Square, one hundred and eighty six years after George Canning, the first of her 11 male predecessors[1]. The unveiling was the culmination of a two-year campaign initiated by activist Caroline Criado Perez. The choice of Fawcett sparked vigorous debate amongst activists and academics alike[2]. Meanwhile, across the Atlantic, the coming centenary of the ratification of the 19th Amendment has inspired #Monumental Women, a grassroots organization, to mount a campaign for the commissioning of a statue honouring the suffrage leaders Elizabeth Cady Stanton and Susan B. Anthony. This campaign also triggered vigorous accusations that the monument would “white wash” the suffrage past, accusations which resulted in the decision to add the African-American leader Sojourner Truth to the monument[3]. Its unveiling is planned for August 26, 2020 in Central Park, New York. Like Fawcett’s, it will be the first statue of its kind in this most prestigious of public spaces. 

These spectacular enshrinements of leading suffrage campaigners in such quintessential sites of national memory can be read as a form of apotheosis for a process begun by the suffrage campaigners themselves to inscribe the suffrage past into our built environments via statues and street names, commemorative plaques and memorial monuments, community cafés and communal libraries[4]. Building on the very recent work of Vera Mackie and Sharon Crozier-de Rosa[5], interrogating the history and effects of that process of creation of literal ”Sites of Feminist Memory”[6], across Europe and the United States, in local, national and transnational settings, will be a central ambition of this conference. We thus invite papers which focus on such literal sites of feminist memory in Europe and the United States and fruitfully engage with the following themes:

–   Where and why have literal sites of feminist memory appeared?

–   What is their relation to surrounding « lieux de mémoires”[7] and to « national » collective memory?

–   Does the creation of these sites borrow from existing traditions of site-creation or is there anything distinctly « feminist » about this process?

–   Are there only « national » or « local » sites of feminist memory or can transnational sites be identified?

–   What effects on collective understandings of « feminism » and the « feminist » past do these sites have, if any?

–   What consequences did/do they have on feminists’ collective memory?

–   How did they shape feminist identities at the time of their creation?

–   How do they shape them now, if at all?

–   What affects are associated with these sites?

–   How stable are the meanings attached to these sites over time?

The other ambition of this conference will be to ponder the more general question of the place of the suffrage past in what Maria Grever has called the ”Pantheon of Feminist Culture”[8]. She meant by this a loose and evolving collection of ”sites of memory” in the sense of Pierre Nora, that is a set of ”leaders, historical events, monuments, rituals, symbols, images, founding texts and historiography”[9] which become iconic and are drawn on by feminists to justify their struggles and identities to themselves, to each other and to their enemies[10]. As the controversies surrounding the statues in London and New York have highlighted, the suffrage past’s place in that Pantheon is hotly contested. Here, we welcome papers which focus on specific suffrage leaders, events, texts, symbols, and images as contested ”sites of feminist memory” in Europe and the United States and which explore some of the following themes:

–   How have these sites of feminist memory emerged? 

–   What has been at stake in their memorialisation?

–   How has historical research contributed to or undermined memorial narratives about these sites?

–   Has the place of these sites in the Pantheon of Feminist Culture remained constant or ebbed and flowed? And why?

–   Can transnational sites be identified? Or are these inescapably national?

–   What affects are associated with these sites and their contestation?

It is envisaged that the conference will result in a publication and the constitution of a research network with a view to bidding for international, particularly European, funding. 

Please send a 300 word abstract in English to Marc Calvini-Lefebvre (marc.calvini-lefebvre@univ-amu.fr) and Claire Sorin (claire.sorin@univ-amu.fr) by 19 February 2020

Notification of acceptance will be given by 01 March 2020.

This conference is organised by the Laboratoire d’Études et de Recherche sur le Monde Anglophone (LERMA) of Aix-Marseille Université and supported by the Aix-Marseille Initiative d’Excellence (A*MIDEX)


[1] A statue commemorating the suffragette Emmeline Pankhurst was erected in 1930 in Victoria Tower Gardens which run alongside the Houses of Parliament but do not face them as does Parliament Square. 

[2] e.g. Rachel Holmes, ”A new feminist statue is a great idea. Shame they picked the wrong feminist”, The Guardian, April 14, 2017

[3] Martha Jones, “How New York’s new monument whitewashes the women’s rights movement,” The Washington Post, March 22, 2019

[4] Hilda Kean, ‘Searching for the Past in Present Defeat:The Construction of Historical and Political Identity in British Feminism in the 1920s and 1930s’, Women’s History Review 3, no. 1 (1994): 57–80; Hilda Kean, ‘Public History and Popular Memory: Issues in the Commemoration of the British Militant Suffrage Campaign’, Women’s History Review 14, no. 3 & 4 (2005): 581–602; Laura E. Nym Mayhall, ‘Creating the “Suffragette Spirit”: British Feminism and the Historical Imagination’, Women’s History Review 4, no. 3 (1995): 319–44.

[5] Sharon Crozier-De Rosa, Remembering Women’s Activism (London : Routledge, Taylor & Francis Group, 2019), especially chapter 1.

[6] Maria Grever, ‘Rivals in Historical Remembrance: Wollstonecraft and Holy Women as “Loci” of Feminist Memory’, The European Journal of Women’s Studies 3 (1996): 101–13.

[7] Pierre Nora, ‘Between Memory and History: Les Lieux de Mémoire’, Representations, no. 26 (1989): 7–24, https://doi.org/10.2307/2928520.

[8] Maria Grever, ‘The Pantheon of Feminist Culture: Women’s Movements and the Organization of Memory’, Gender & History 9, no. 2 (August 1997).

[9] Ibid, p. 101

[10] Lisa Tetrault, Myth of Seneca Falls: Memory and the Women’s Suffrage Movement, 1848-1898 (Chapel Hill: University of North Carolina Press, 2014); Marc Calvini-Lefebvre, ‘The Great War in the History of British Feminism: Debates and Controversies, 1914 to the Present’, Revue Française de Civilisation Britannique [Online] XX, no. 1 (2015), https://doi.org/10.4000/rfcb.310.

Le roman féministe à la fin de l’ère victorienne

Vient de paraître:

https://classiques-garnier.com/le-courage-de-deplaire-le-roman-feministe-a-la-fin-de-l-ere-victorienne.html

Nathalie Saudo-Welby, Le Courage de déplaire: le roman féministe à la fin de l’ère victorienne, Paris: Classiques Garnier, Collection Masculin/Féminin dans l’Europe moderne, n° 21, 2019, 415 p. ISBN 978-2-406-08583-6, Broché, 36 €.

À la fin du XIXe siècle, avec le développement des revendications féministes, l’opinion publique britannique s’alarme de l’apparition d’un type moderne : la « Nouvelle Femme ». Démonstrative et rebelle, celle-ci réclame une vie émancipée des normes sociales et libérée des lois dites naturelles. Devenue une cible satirique dans la presse, la Nouvelle Femme fait l’objet dans les années 1890 d’un véritable engouement littéraire. Cet ouvrage explique le contexte dans lequel un sous-genre romanesque s’est construit autour d’elle et examine les messages féministes et antiféministes qui s’y entremêlent. On y entendra s’élever la voix de femmes qui, brisant le poids du silence et surmontant leur crainte de déplaire, ont écrit haut et fort.

Sommaire

Introduction
Combats et réalisations des féministes britanniques à la fin du XIXe siècle
Poétique du roman de la Nouvelle Femme
Didactisme et stratégies narratives
Les discours enchevêtrés
La Femme dégénérée
Voix féminines
La Femme dévoyée
Troubles dans le genre
Conclusion

Chawton House Library

A beautiful library holding early editions of works by women, mostly in English, and mostly within the period 1600-1830. Many of these works are rare and in some cases unique — they should be of interest to the members of the SAGEF specialised in literature (esp. of that period of time)!

Click on the link below to learn more about its collections:

https://www.independentlibraries.co.uk/chawton-house-library

GRAAT, « Le corps dans tous ses éclats »

Chères et chères Sagefistes, le dernier nurméro du GRAAT, revue consacrée aux Études sur le genre & Études culturelles, vient de parâitre. Il est co-dirigé par Régine Atzenhoffer & Margaret Gillespie et les contributions qu’il rassemble sont suscpetibles de vous intéresser.

Voici le lien pour y accéder : http://www.graat.fr/

Bonne lecture !

Séminaire OAB: Pat Thane (18/11/19)

La première séance du séminaire de l’OAB (Observatoire de l’aire britannique, CREA, Université Paris Nanterre) aura lieu lundi 18 novembre à 17h00,  salle R 13, Bâtiment Ida Maier (anciennement bât. V), UFR LCE.

Elle est susceptible d’intéresser particulièrmeent les membres de la SAGEF étant donné qu’elle accueillera Pat Thane (Visiting Professor in History, Birkbeck College, University of London), qui présentera son ouvrage Divided Kingdom, A History of Britain, 1900 to the Present, Cambridge UP, 2018.

La discutante sera Florence Binard (ICT, Université Paris Diderot).

La séance suivante aura lieu vendredi 13 décembre à 17hThierry Labica (OAB, CREA, Université Paris Nanterre), présentera son ouvrage L’hypothèse Jeremy Corbyn, une histoire politique et sociale de la Grande Bretagne depuis Tony Blair, Demopolis, 2019.

CFP – Ateliers SAGEF au Congrès SAES 2020 (Tours)

Pour le soixantième congrès annuel de la SAES qui aura lieu à l’Université de Tours, du 4 au 6 juin 2020, le thème retenu est “RenaissanceS”. Texte de cadrage : http://saesfrance.org/wp-content/uploads/2019/06/cadrage-Tours.pdf

La SAGEF y tiendra comme chaque année un atelier « Femmes, sexe, genre » et examinera toutes les propositions qui croiseront ces prismes d’analyse avec celui de RenaissanceS, aussi bien en littérature qu’en civilisation ou en linguistique. Le thème retenu semble particulièrement fécond pour aborder les problématiques et objets d’étude de la SAGEF puisqu’il s’agit notamment de changements de perspectives, de repositionnements, de transformations, qui peuvent s’appliquer aux corps, aux rapports sociaux de sexe, aux féminismes, etc. Autant de notions qui se trouvent également au coeur des études de genre.


Merci de faire parvenir vos propositions de 300 mots, accompagnées de votre affiliation avant le 20 Octobre à: Alexandrine Guyard-Nedelec (Université Paris 1 Panthéon-Sorbonne): alexandrine.guyard-nedelec(at)univ-paris1.fr ET – Marc Calvini-Lefebvre (Aix-Marseille Université): marc.calvini-lefebvre(at)univ-amu.fr

Exhibition: City Women in the 18th Century

http://citywomen.hist.cam.ac.uk/

In the 18th century, many women worked in luxury manufacturing and sales in the Cheapside area between St Paul’s and the Royal Exchange. They were not only employed to make the clothing, jewellery, prints, fans, trunks and furniture on sale; they also ran some of the businesses. These women, all of whom were members of London’s livery companies, employed thousands more in their trades. Some of these elite employers produced highly ornamental trade cards to advertise their business. These represent only a fraction of all the business women trading over the 18th century. Others we know of through their printed products (e.g., Sarah Ashton, fanmaker), or an insurance policy (Eleanor Coade, merchant), or livery company records (Martha Gurney, printer).

Most of the surviving business cards are in two collections in the British Museum. The first collector was Sarah Sophia Banks (1744-1818). The sister of Joseph Banks, who collected items of natural history, she collected material relating to the social history of her own day. The second collector was Ambrose Heal (1872-1959), arts and crafts furniture designer and heir to Heal’s furniture shop which had been established in Tottenham Court Road since the 1850s.

This outdoor exhibition, over a 700-metre trail, explores the important role of women in commerce and manufacturing in 18th-century City.

Motherhood in Contemporary International Perspective

Edited by Fabienne Portier-Le Cocq, Routledge, 226 pages

https://www.routledge.com/Motherhood-in-Contemporary-International-Perspective-Continuity-and-Change/Cocq/p/book/9780367188436

Divided into 15 chapters, this book provides the reader with an insight into certain representations of mothers and motherhood in history and today’s societies in some areas of the world, notably in Britain and Asia.

Key facts about the history of motherhood are presented, together with the use of very recent notions and phrases portraying ‘good’ and ‘bad’ mothers. An analysis of the concepts of naming and blaming, along with regret with respect to mothers in 21st century societies, provides food for thought. Other issues addressed are varied and numerous: the politics of early intervention, feminist critique, mothers with disabilities and mothers of disabled children, incarcerated mothers, surrogate mothers, teenage mothers, lesbian mothers, and mothering in Eastern Asia, namely in China, Japan, and Korea. Interestingly, both visual arts and literature play a crucial role in this analysis.

The publication will appeal to students, academics, researchers, and the general public interested in and seeking to comprehend the shifts that have occurred over time in connection with the vast and inexhaustible subject of motherhood and mothers – a private and public matter. Readers are also provided with a rich reference section dealing with the latest publications on the issues tackled by prominent academics and researchers in human geography, women’s studies, sociology, gender studies, contemporary history, and the arts.