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This book traces the intersection of radical feminism, composition, and print culture in order to address a curious gap in feminist composition studies: the manifesto-writing, collaborative-action-taking radical feminists of the 1960s and 1970s. Long before contemporary debates over essentialism, radical feminist groups questioned both what it was to be a woman and to perform womanhood, and a key part of that questioning took the form of very public, very contentious texts by such writers and groups as Shulamith Firestone, the Redstockings, and WITCH (the Women's International Terrorist Conspiracy from Hell). Rhodes explores how these radical women's texts have been silenced in contemporary rhetoric and composition, and compares their work to that of contemporary online activists, finding that both point to a "network literacy" that blends ever-shifting identities with ever-changing technologies in order to take action. Ultimately, Rhodes argues, the articulation of radical feminist textuality can benefit both scholarship and classroom as it situates writers as rhetorical agents who can write, resist, and finally act within a network of discourses and identifications.
Crucial conversations about feminist theories and how they can fall apart, rupture, and fragment.
The Book Places A Body Of Women S Fiction Against The Ideological Territory Of Radical Feminism With A Firm Belief In Its Social, Political And Intellectual Essentiality. The Absence Of This Specific Discourse In Women S Texts Stirs An Urge For A Different Kind Of Gender Sensitivity Than Their Limited And Undefined Approach Provides. The Book Takes Into Its View A Huge Compendium Of Women S Fiction In Hindi And In Indian English, Most Of Which Has Been Victim Of Hegemonic Biases And Overall Marginalization.
Feminism is not dead. This groundbreaking book advances a radical and pioneering feminist manifesto for today's modern audience that exposes the real reasons as to why women are still oppressed and what feminist activism must do to counter it through a vibrant and original account of the global Reclaim the Night March.
The contributors to Radically Speaking show that a radical feminist analysis cuts across class, race, sexuality, region, religion and across the generations. It is essential reading for Women's Studies, sociology, cultural studies, and anyone interested in processes of social change. Thecollection reveals the global reach of radical feminism and analyze the causes and solutions to patriarchal oppression. Seventy writers discuss their ideas and practice of contemporary feminism.
“I would regard myself as a feminist writer, because I’m a feminist in everything else and one can’t compartmentalise these things in one’s life.” (Angela Carter) “When I became a feminist in 1968, I felt that I’d come home: the first home I ever had that was feminine. And it was very wild and theatrical and erotic, the early feminism.” (Michèle Roberts) Angela Carter and Michèle Roberts share a keen interest in gender and sexual identity, but many of their topics seem to mark them as opposites: Roberts’s fascination with the impact of religion, motherhood and autobiography on female identity covers areas that Carter shuns in her writings. In reading these two authors parallel and in contrast to each other, this monograph follows a triple objective: it provides a comprehensive critical introduction to the works of Roberts, explores aspects of Carter’s work that have not yet been analyzed sufficiently (religion, motherhood, and masculinity), and uses both authors to explore motifs and strategies of feminist writing. The analyses of both authors’ works are supplemented by close readings of a wide range of theoretical perspectives (especially French feminism and psychoanalysis) and concise theoretical outlines of the topics covered (radical feminism, religion, motherhood and fatherhood, masculinity, fairy tales, romances and chick lit, and history and auto/biography).
Shulamith Firestone’s The Dialectic of Sex proved immediately controversial upon its publication in 1970. The book’s thesis is that the origins of women’s oppression lie in biology: in the fact that it is women and not men who conceive and give birth to children. Firestone’s solution is revolutionary: since it is biology that is the problem, then biology must be changed, through technological intervention that would have as its end the complete removal of the reproductive process from women’s bodies. With its proposal for the development of artificial wombs, its call for the abolition of the nuclear family and its vision of a cybernetic future, Firestone’s manifesto may seem hopelessly out-dated, a far-fetched, utopian hangover of Swinging Sixties radicalism. This book, on the contrary, will argue for its importance to the resurgent feminism of today as a text that interrogates issues around gender, biology, sexuality, work and technology, and the ways in which our imaginations in the 21st century continue to be in thrall to ideologies of maternity and the nuclear family.
Winner of Outstanding Book Award of Gustavus Myers Center for the Study of Human Rights An award-winning and canonical history of radical feminism, whose activist heat and intellectual audacity powered second-wave feminism—30th anniversary edition A fascinating chronicle of radical feminism’s rise and fall from the mid-Sixties to the mid-Seventies, Daring to Be Bad is a must-read for both students of gender history and activists of intersectionality. This thirtieth anniversary edition reveals how current debates about race, transgender rights, queer theory, and sexuality echo issues that galvanized and divided feminists fifty years ago.
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 in a revolutionary analysis of male supremacy, Dworkin was a philosopher outside and against the academy who wrote with a singular, apocalyptic urgency. Last Days at Hot Slit brings together selections from Dworkin's work, both fiction and nonfiction, with the aim of putting the contentious positions she's best known for in dialogue with her literary oeuvre. The collection charts her path from the militant primer Woman Hating (1974), to the formally complex polemics of Pornography (1979) and Intercourse (1987) and the raw experimentalism of her final novel Mercy (1990). It also includes “Goodbye to All This” (1983), a scathing chapter from an unpublished manuscript that calls out her feminist adversaries, and “My Suicide” (1999), a despairing long-form essay found on her hard drive after her death in 2005.