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The idea and ideal of "beauty" has been used to oppress women of different ages, body types, skin color, and physical ability. The theoretical discussion of aesthetics has also been conditioned by these same dynamics of power and oppression. In She Who Imagines, a diverse set of scholars challenges the exclusion and false definitions while constructing capacious ideas that discover beauty in unexpected places. In these essays, the authors draw on a variety of arts media-painting, photography, portraiture, craftwork, poetry, and hip-hop music-thereby joining beauty to truth and, in a richly defining way, to the practice of justice. In a variety of ways all the essays link women's definitions of beauty with experiences of suffering and hence with the yearning for justice. All clearly prize resistance to degradation as an essential element of thought.
LONGLISTED FOR THE NATIONAL BOOK AWARD “Nothing short of magic.” —Elizabeth Acevedo, New York Times bestselling author of The Poet X From the acclaimed poet featured on Forbes Africa’s “30 Under 30” list, this powerful novel-in-verse captures one girl, caught between cultures, on an unexpected journey to face the ephemeral girl she might have been. Woven through with moments of lyrical beauty, this is a tender meditation on family, belonging, and home. my mother meant to name me for her favorite flower its sweetness garlands made for pretty girls i imagine her yasmeen bright & alive & i ache to have been born her instead Nima wishes she were someone else. She doesn’t feel understood by her mother, who grew up in a different land. She doesn’t feel accepted in her suburban town; yet somehow, she isn't different enough to belong elsewhere. Her best friend, Haitham, is the only person with whom she can truly be herself. Until she can't, and suddenly her only refuge is gone. As the ground is pulled out from under her, Nima must grapple with the phantom of a life not chosen—the name her parents meant to give her at birth—Yasmeen. But that other name, that other girl, might be more real than Nima knows. And the life Nima wishes were someone else's. . . is one she will need to fight for with a fierceness she never knew she possessed.
After rising from poverty to earn two Ivy League degrees, an Appalachian lawyer pays tribute to the strong “hill women” who raised and inspired her, and whose values have the potential to rejuvenate a struggling region. “Destined to be compared to Hillbilly Elegy and Educated.”—BookPage (starred review) “A gritty, warm love letter to Appalachian communities and the resourceful women who lead them.”—Slate Nestled in the Appalachian mountains, Owsley County, Kentucky, is one of the poorest places in the country. Buildings are crumbling as tobacco farming and coal mining decline. But strong women find creative ways to subsist in the hills. Through the women who raised her, Cassie Chambers traces her path out of and back into the Kentucky mountains. Chambers’s Granny was a child bride who rose before dawn every morning to raise seven children. Granny’s daughter, Ruth—the hardest-working tobacco farmer in the county—stayed on the family farm, while Wilma—the sixth child—became the first in the family to graduate from high school. Married at nineteen and pregnant with Cassie a few months later, Wilma beat the odds to finish college. She raised her daughter to think she could move mountains, like the ones that kept her safe but also isolated from the larger world. Cassie would spend much of her childhood with Granny and Ruth in the hills of Owsley County. With her “hill women” values guiding her, she went on to graduate from Harvard Law. But while the Ivy League gave her opportunities, its privileged world felt far from her reality, and she moved home to help rural Kentucky women by providing free legal services. Appalachian women face issues from domestic violence to the opioid crisis, but they are also keeping their towns together in the face of a system that continually fails them. With nuance and heart, Chambers breaks down the myth of the hillbilly and illuminates a region whose poor communities, especially women, can lead it into the future.
“Ten days after the war ended, my sister Laura drove a car off a bridge.” These words are spoken by Iris Chase Griffen, married at eighteen to a wealthy industrialist but now poor and eighty-two. Iris recalls her far from exemplary life, and the events leading up to her sister’s death, gradually revealing the carefully guarded Chase family secrets. Among these is “The Blind Assassin,” a novel that earned the dead Laura Chase not only notoriety but also a devoted cult following. Sexually explicit for its time, it was a pulp fantasy improvised by two unnamed lovers who meet secretly in rented rooms and seedy cafés. As this novel-within-a-novel twists and turns through love and jealousy, self-sacrifice and betrayal, so does the real narrative, as both move closer to war and catastrophe. Margaret Atwood’s Booker Prize-winning sensation combines elements of gothic drama, romantic suspense, and science fiction fantasy in a spellbinding tale.
A psychoanalytic and philosophical exploration of sublimation as a key term in Jacques Lacan's theories of ethics and feminine sexuality. Jacques Lacan claimed that his theory of feminine sexuality, including the infamous proposition, "the Woman does not exist," constituted a revision of his earlier work on "the ethics of psychoanalysis." In Imagine There's No Woman, Joan Copjec shows how Freud's ragtag, nearly incoherent notion of sublimation was refashioned by Lacan to become the key term in his ethics. To trace the link between feminine being and Lacan's ethics of sublimation, Copjec argues, one must take the negative proposition about the woman's existence not as just another nominalist denunciation of thought's illusions about the existence of universals, but as recognition of the power of thought, which posits and gives birth to the difference of objects from themselves. While the relativist position currently dominant insists on the difference between my views and another's, Lacan insists on this difference within the object I see. The popular position fuels the disaffection with which we regard a world in a state of decomposition, whereas the Lacanian alternative urges our investment in a world that awaits our invention. In the book's first part, Copjec explores positive acts of invention/sublimation: Antigone's burial of her brother, the silhouettes by the young black artist Kara Walker, Cindy Sherman's Untitled Film Stills, and Stella Dallas's final gesture toward her daughter in the well-known melodrama. In the second part, the focus shifts to sublimation's adversary, the cruelly uncreative superego, as Copjec analyzes Kant's concept of radical evil, envy's corruption of liberal demands for equality and justice, and the difference between sublimation and perversion. Maintaining her focus on artistic texts, she weaves her arguments through discussions of Pasolini's Salo, the film noir classic Laura, and the Zapruder film of the Kennedy assassination.
Muslim women of all ages, economic status, educational backgrounds, sexual orientations, and from different parts of historically Muslim countries suffer the kinds of atrocities that violate common understandings of human rights and are normally denounced as criminal or pathological, yet these actions are sustained because they uphold some religious doctrine or some custom blessed by local traditions. Ironically, while instances of abuse meted out to women and even female children are routine, scholarship about Muslim women in the post 9/11 era has rarely focused attention on them, preferring to speak of women’s agency and resistance. Too few scholars are willing to tell the complicated, and at times harrowing, stories of Muslim women's lives. Women and Islam: Myths, Apologies, and the Limits of Feminist Critique radically rethinks the celebratory discourse constructed around Muslim women’s resistance. It shows instead the limits of such resistance and the restricted agency given women within Islamic societies. The book does not center on a single historical period. Rather, it is organized as a response to five questions that have been central to upholding the 'resistance discourse': What is the impact of the myth of al-Andalus on a feminist critique? What is the feminist utility of Edward Said’s theory of Orientalism? Is Islam compatible with a feminist agenda? To what extent can Islamic institutions, such as the veil, be liberating for women? Will the current Arab uprisings yield significant change for Muslim women? Through examination of these core questions, Bouachrine calls for a shift in the paradigm of discourse about feminism in the Muslim world.
A stylish romantic comedy and a brilliant follow up to All the Hopeful Lovers from the award-winning screenwriter. Maggie and Andrew are lovers who live apart--Maggie in the country, Andrew in London. When Andrew is offered a job close to Maggie, moving in with her is the obvious next step. Or is it? Moving in together leads to marriage. Is this the man she wants to spend the rest of her life with? Maggie panics. Andrew is devastated. But when he turns the tables on her, Maggie begins to see him rather differently. Meanwhile Maggie's Sussex neighbours are living through their own intense dilemmas. Henry's midlife crisis is exacerbated by a plague of rabbits in his garden, but hiring petty criminal Terry to extend the fencing turns out rather badly. Henry's wife Laura is secretly adored by her brother in law, Roddy. He hovers in the wings waiting for the moment to declare himself; while screenwriter Alan's efforts to convert a Grade II listed outbuilding to a workspace are thwarted by a maddening conservation officer--who happens to be Maggie.