Not as Bad Is Not Good Enough: Feminist Research and Local Gender Politics

2010 ◽  
Author(s):  
Dolma Roder
Keyword(s):  
Gender Politics ◽  
Feminist Research

Feminist Research Methodology and Abused Women

1990 ◽  
Vol 35 (3) ◽  
pp. 276-277
Author(s):  
Irene Hanson Frieze
Keyword(s):  
Research Methodology ◽  
Feminist Research ◽  
Abused Women

Gender Politics in US College Athletic Departments

2016 ◽  
Author(s):  
Lisa A. Kihl ◽  
Vicki D. Schull ◽  
Sally Shaw
Keyword(s):  
Gender Politics ◽  
Athletic Departments

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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