I’m a political economist interested in development which I’ve been studying, researching, and writing about since my undergraduate days in the early 1990s.
I’m writing this section just a couple of days after International Women’s Day (IWD).
IWD 2023 focussed on the gender gap in digital innovation. Closing this gap would contribute to progress in achieving substantive gender equality, but IWD organisers also argue, it would generate more economic growth.
This narrative is partial and ideological. It uses a fact (the gender gap) and a worthy objective (of eliminating that gap) to promote a particular conception of women – something that Naila Kabeer illuminates with great effect in Reversed Realities.
Part of the reason for socio-economic gender gaps is the amount of (often unpaid) time women spend caring for others. While care is foundational to what makes us human, in contemporary capitalist societies care work is devalued to the extent that much of it goes unpaid. Could it be otherwise?
Kabeer shows how so much ideology about gender equality is based upon the…
Reversed Realities uncovers the deeply entrenched, hence barely visible, biases which underpin mainstream development theory and account for the marginal status given to women's needs in current development policy. Naila Kabeer traces the emergence of 'women' as a specific category in development thought and examines alternative frameworks for analysing gender hierarchies. She identifies the household as a primary site for the construction of power relations and compares the extent to which gender inequalities are revealed in different approaches to the concept of the family unit. The book assesses the inadequacies of the poverty line as a measuring tool and provides…
As a Moldovan emigrant growing up in Greece, I believed that Western institutions were centers of excellent knowledge. After studying in the USA and the UK and conducting research with Muslim and Christian communities in Africa, I became aware of colonial, ethnocentric, and universalizing tendencies in gender, religion, and domestic violence studies and their application in non-western contexts. International development had historically followed a secular paradigm congruent with Western societies’ perception of religion and its role in society. My work has since sought to bridge religious beliefs with gender analysis in international development work so that the design of gender-sensitive interventions might respond better to domestic violence in traditional religious societies.
I read Nzegwu’s book after completing my PhD and it left a lingering impression on me.
Her work effectively challenged conceptualizations of gender that assumed an inherently hierarchical relationship between female and male. It also drew attention to the role of colonial laws and judicial edicts in promoting gender inequality in Nigeria’s Igbo society.
Nzegwu's discussion of the Onitsa dual-sex system that had historically embraced sexual difference but still granted women and men respective powers and responsibilities in society told a different story about gender relations in African societies prior to Western colonialism.
Nzegwu’s work echoes Oyěwùmí’s, and together they offer a window into alternative gender realities we can learn from.
Valerie M. Hudson is a University Distinguished Professor and holds the George H.W. Bush Chair in the Department of International Affairs at The Bush School of Government and Public Service at Texas A&M University, where she directs the Program on Women, Peace, and Security. Hudson was named to the list of Foreign Policy magazine’s Top 100 Global Thinkers, and was recognized as Distinguished Scholar of Foreign Policy Analysis (FPA/ISA) and awarded an inaugural Andrew Carnegie Fellowship as well as an inaugural Fulbright Distinguished Chair in the Arts, Humanities, and Social Sciences at Australian National University. She has been selected as the Distinguished Scholar Award recipient for 2022 by the Political Demography and Geography Section (PDG/ISA) of the International Studies Association.
If Enloe’s book set the stage, Tickner’s 1992 book was the first to openly challenge the then-conventional verities of IR Theory in a systematic way. In her book, Tickner takes on the two major subdivisions of IR thought—Security/Conflict Studies and International Political Economy, and mounts a devastating critique of the major approaches in each. She lambasts how gendered our understandings of, say, deterrence are, and how the state is viewed in IR theory as a “masculine” entity, and how this has warped our understandings and even the very questions we ask in IR. Tickner does the same with the clearly male-focused world of microeconomic theory with its womanless world of rational utility maximizers. This book set IR back on its collective heels.
I have spent a great deal of time exploring how psychoanalytic theory might be the basis for a critique of capitalism. I had always heard the Marxist analysis of capitalist society, but what interested me was how psychoanalytic theory might offer a different line of thought about how capitalism works. The impulse that drives people to accumulate beyond what is enough for them always confused me since I was a small child. It seems to me that psychoanalytic theory gives us the tools to understand this strange phenomenon that somehow appears completely normal to us.
Although Ruti’s book is not directly about capitalism, it includes perhaps the best psychoanalytic proposal of confronting the imperatives of capitalist society that I have ever read. Ruti discusses how sexism operates within capitalism primarily in the book, but her point is always about how concepts from psychoanalysis that seem retrograde—such as penis envy—can actually be the basis for a critique of capitalism and sexism.
Mari Ruti combines theoretical reflection, cultural critique, feminist politics, and personal experience to analyze the prevalence of bad feelings in contemporary everyday life. Proceeding from a playful engagement with Freud's idea of penis envy, Ruti's autotheoretical commentary fans out to a broader consideration of neoliberal pragmatism. She focuses on the emphasis on good performance, high productivity, constant self-improvement, and relentless cheerfulness that characterizes present-day Western society. Revealing the treacherousness of our fantasies of the good life, particularly the idea that our efforts will eventually be rewarded-that things will eventually get better-Ruti demystifies the false hope that often causes us to…
I write about contemporary art, and much of the work I’ve been drawn to was made by women and by artists in other sidelined communities. Early on, I also focused on marginalized disciplines: artists’ books, performance, and art that responded directly to the vacant sites that abounded in New York City when I started out in the late 1970s. It was an enormously exciting time, but also a tough one. Violence was very hard to avoid. I didn’t focus on that at the time, but ultimately, I realized I needed to look more directly at trouble, and how artists respond to it.
I didn’t read Last Days ofHot Slit in time to include it in my own book about sexual violence. In truth, I could have (barely; it was published just before I finished). But I felt comfortable with my aversion to Dworkin, a crusader against assault who had found common cause with conservative activists. And Dworkin was a self-defeating font of vituperation, wasn’t she? Well, no. She was in fact altogether brilliant. Fateman’s wonderfully lucid, deeply researched introduction and the careful selection she and Scholder made of Dworkin’s surprisingly wide-ranging work, demonstrate the force and courage not just of this radical feminist’s writing, but also of her character.She was dauntless.
Selections from the work of radical feminist author Andrea Dworkin, famous for her antipornography stance and role in the feminist sex wars of the 1980s.
Radical feminist author Andrea Dworkin was a caricature of misandrist extremism in the popular imagination and a polarizing figure within the women's movement, infamous for her antipornography stance and her role in the feminist sex wars of the 1980s. She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery…
I’ve always been interested in food, even as young as 3 years old I remember wanting to taste everything, and I found the process of cooking fascinating. But I really got interested in food as a topic for research during my time studying Greek culture for my PhD thesis. People on the island of Kalymnos, where I’ve conducted research for 30 years, made a strong connection between food and memory, but it was a connection that few scholars have written about until recently. So I’ve been excited to participate in a new field reflected by all of these books, and hope you will be as well.
This is the first book of its kind to combine a focus on women’s food knowledge from growing and harvesting to cooking.
The author draws from a wide array of sources to provide a rare cross-cultural and historical perspective on women’s food practices and their significance to “sexual politics.” Written in accessible and lively prose that is both informative and a pleasure to read.
Women have always been inextricably linked to food, especially in its production and preparation. This link, which applies cross-culturally, has seldom been fully acknowledged or celebrated. The role of women in this is usually taken for granted and therefore often rendered unimportant or invisible. This book presents a wide-ranging, interdiscplinary and comprehensive feminist analysis of women's central role in many aspects of the world's food systems and cultures. This central role is examined through a range of lenses, namely cross-cultural, intergenerational, and socially diverse.
I'm a London-based critic, author, and host whose love affair with film began after seeing The Lion King in the cinema as a kid. I trained as a journalist because I wanted to talk about the world. Since then I’ve been covering film and culture for the likes of Empire Magazine, Time Out, and IGN. I co-host MTV Movies and the weekly film reviews podcast Fade to Black; co-founder of The First Film Club event series and podcast, and am a member of London's Critics' Circle. I'm a voice for gender equality, diversity, and inclusion in the entertainment industry and an advocate for MENA representation as a writer of Tunisian heritage.
One of the most influential thinkers and writers on feminist film theory, Mulvey’s groundbreaking essay “Visual Pleasure and Narrative Cinema” is one of many that tackle the representation of women in art and culture and how these mediums might impede or aid the women’s movement.
Mulvey was a great resource for my own book in analysing the overt sexualisation of female characters on screen to cater to the so-called Male Gaze and misogynistic pleasures.
A new edition of Laura Mulvey's groundbreaking collection of essays, originally published in 1989. In an extensive introduction to this second edition, Mulvey looks back at the historical and personal contexts for her famous article Visual Pleasure and Narrative Cinema , and reassesses her theories in the light of new technologies.
After bumping around newspaper journalism in my 20s, I wandered into a Ph.D. and then landed a great job at the University of Texas at Austin. Being a professor allowed me to explore any subject that seemed interesting, which resulted in books on environmental collapse, sexism and pornography, racism, foreign policy and militarism, religion, journalism and mass media, and critical thinking. Throughout this work, radical feminism has remained at the core of my philosophy. Andrea Dworkin captures this politics in a line from her novel Ice and Fire, “'I am a feminist, not the fun kind.” Such feminism may not always be fun, but it’s always important.
When I first read this book on feminist philosophy in the late 1980s, I was nervous about both feminism (because I wasn’t sure what it meant for me) and philosophy (because I wasn’t sure I was smart enough to understand it).
Marilyn Frye’s book helped me realize that I had been raised in a male-dominated and deeply sexist culture without knowing much about it, making feminism essential to my education. She also demonstrated that philosophy written in plain language was for everyone rather than an esoteric endeavor for specialists.
Frye was a scholar-in-residence at the university where I did graduate studies, and she sat in on our reading group. It was a real treat to sit across the room and hear her think out loud.
Politics of Reality includes essays that examine sexism, the exploitation of women, the gay rights movement and other topics from a feminist perspective.
“This is radical feminist theory at its best: clear, careful and critical.”—SIGNS
“For anyone first coming to feminism, these essays serve as a backdrop . . . for understanding the basic, early and continuing perspectives of feminists. And for all of us they provide a theoretical framework in which to read the present as well as the past.”—Women’s Review of Books
“The style is both scholarly and direct without being ponderous. Frye makes a concerted effort to…
Since I retired from lecturing in Classical Studies I’ve been writing more pieces on women in the ancient world, and also some plays. One of them, 189 Pieces, is about the Portland Vase, a beautiful example of Roman glass whose label in the British Museum tells us that it was owned by the Duke of Portland. This is true—he’d inherited it—but it was bought at great expense by his grandmother, the wonderful Duchessof Portland. Giving women their place in history has been my aim in much of my work. Nowadays I’m obsessed with female footwear, and Cinderella, Goody Two-Shoes, and Carrie Bradshaw take up a lot of my time.
Thrilling portraits of violent women in Greek tragedy—for example, Clytemnestra, Electra, and Medea—seem like an anomaly in a society that expected women to get married, bear children, be quiet, and stay at home. In this accessible introduction to the subject Rabinowitz examines tragedy in its original theatrical and social contexts. Her analyses of selected plays are grounded in psychoanalytic and feminist theory, and include vivid accounts of some modern performances. Whatever is happening in the world, there is always a Greek tragedy that speaks to it.
Greek Tragedy sets ancient tragedy into its original theatrical, political and ritual context and applies modern critical approaches to understanding why tragedy continues to interest modern audiences. * An engaging introduction to Greek tragedy, its history, and its reception in the contemporary world with suggested readings for further study * Examines tragedy's relationship to democracy, religion, and myth * Explores contemporary approaches to scholarship, including structuralist, psychoanalytic, and feminist theory * Provides a thorough examination of contemporary performance practices * Includes detailed readings of selected plays
I don’t know how she does it, but Elena Ferrante’s work is almost unique in how intensely immersive it is.
On one level, this is just a story of regular folks living regular lives. But once you get into it, you become drawn in so deeply that the line between your mind and that of Elena Greco, the narrator, almost vanishes. At times you feel as if you’re really there, experiencing these things, as if you’ve become Elena temporarily.
It’s an incredibly powerful and satisfying feeling, and as I say, pretty much unique in literature.
