Weaving Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Weaving</title> <author>Madeleine Burnside</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021- Present)</resp> </respStmt> <respStmt> <persName>Lyndon Beier</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-23)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>HTR editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>[ISSUE TITLE]</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"/></xenoData></teiHeader> <text> <body> <div> <pb facs="/sites/default/files/2025-01/heresies_no4_page_030_1.jpg" n="27"/> <head>weaving</head> <byline><persName>Madeleine Burnside</persName></byline> <p>No mistake. Works at the loom a profusion of thoughts and angrily beats the red into place upon the grey. Makes no haste but in a sustained resentment forces them. Places the yarn. The warps are the parallel paths of her choices that bear her in a single direction, the teeth of the comb fit them, for a moment the colors appear superfluous to the continuing texture. She twists and resents what is seen as beauty arising.</p> <p>At another moment sets the red in blocks in such a way that emotion is confused with attention to the work, the beating of the comb an essential part. She says of her children, sometimes I work at the loom, sometimes they understand. The difference between my life and theirs is that my disgust is not unraveled.</p> <p>To the rhythm of the shuttle shé breaks the symmetry of the pattern bysturning the fourth arrow inwards. In another year she tears her daughter and rémakes the place differently so that scars cross. Her efforts are not to achieve but to continue. Rays of light from the window illuminate areas of the cloth, the sun marks her shines and creases her face. In the increasing brightness she becomes unable to discriminate between the fabric and the land.</p> <p>She wishes to include her children, those changing qualities in her ife, but as she withholds herself from her disappointments so she comes no nearer to her desires.</p> <p>She sits on the floor and for a moment they feel she is accesible to them, her craft gamelike and simple, they warm to her, they speak.</p> <p>At times weaving is not a pleasant task but A vadteland of drudgere an end to which is not promised. She is aware at these times that cutting a rug from the loom does not relieve the ongoing pressure. She fasts. She does not sleep. The time opens and closes before her movemente. She continues filled with a specific calm spreading her hand on the surface of the loom as, beyond the window, the arms of trees are empty, precise, to cátchion the curve of them lines of snow. She considers. It is in this spirit that she has named children, placing upon them varn and dye in the hope that they will perform rites to announce all the phases of their passing.</p> <p>And sitting inside the frame she will recast the work, another play of colors whose relations and individuals set in her mind the parting of the space. It is time to rewarp the loom; she has come very near to the end of the pefmitted period for she has played with the moment here as on other occasions she has forced the thread into pláce and had it shy away from her. She again pauses, lingers in the empty frame and smiles, having freed herself from the pulling of the hours she,makes perfect indifferent gestures at the loom.</p> <p>She perceives this stage as a part of a chain, the links placed in her life as an offering. She draws the edge in or, pulling the thread taut, settles herself within the rigid sides. She gathers her thoughts, they pass into the wool as, when it is spun, scenes from the landscape are twisted into it. She spaces the measures, this is one thread wrapped around the frame, rising and sinking always the same like herself and days.</p> <p>The weavings are all of this thread that eases from her hand a troubled or a sweet excrescence into the world. This is her substance in which the moments are caught, their outline fingered and their matter consumed in such a way that they themselves become the fiber of the web.</p> </div> </body> <back> <div> <p>I am a writer, not a weaver. The text is a metaphor for my craft. The descriptions of weaving are based on observations of Navajo women’s traditional skills in Ganado, Arizona, near Canyon de Chelly.</p> </div> </back> </text> </TEI>
Fays, Floozies and Philosophical Flaws Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Fays, Floozies and Philosophical Flaws</title> <author>Arlene Ladden</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic><title>Heresies: Issue 1</title></analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118738", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.738Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118738#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118738#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "\"An Exhortation to Theodore after His Fall,\" in A Select Library of the Nicene and Post-Nicene Fathers, ed. Philip Schaff et al. (New York, 1889), IX, 103-104." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118739", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.739Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118739#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118739#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[2]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "From the Carmen de Mundi contemptu, quoted in Not in God’s Image, ed. J. Ofaolain and L. Martines (New York, Harper and Row 1973), p. xlij. St. Odo of Cluny had earlier phrased this with almost identical wording in his Collationes, lib. 2, cap. 9 (in J. P. Migne’s Patrologia Latina (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's Meditationes Plissimae de Cognitione Humanae Conditionis, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are \"stercoris saccum” and saccus stercorum” —literally, a bag of shit." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.740Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "The Early English Text Society's Ancrene Riwle, ed. E. J. Dobson (London, 1972), pp. 202-203; author's translation." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.740Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118740#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note[2]" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Salimbene, in From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene (1221-1288). 2nd ed., ed. and trans. G.G. Coulton (London, 1907), p. 97. and Tertullian, quoted in G.L. Simon's A History of Sex (London, New English Library, 1970). p. 71" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118741", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.741Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118741#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118741#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[3]/note[3]" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": " From La Clef d'amor and La Cour d'aimer in Nina Epton's Love and the French (London, 1959), pp. 30ff " }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.742Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "For troubadour biographies, I have consulted Jehan de Nostredame, Les Vies des Plus Celebres et Ancien: Poetes Provencaux, ed. Camille Chabaneau (1913; rpt Geneve, 1970—first published in 1575); La Curne de Sainte-Pelaye, Histoire Litteraire des Troubadours (1774 rpt. 3 vols. in 1, Genève, 1967); and Victor Balaguer, Los Trovadores, 2nded. (Madrid, 1883). 4 vol." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.742Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118742#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[10]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love\" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.743Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[12]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Plutarch’s Lives, trans. Langhorne (London, Frederick Warne, n.d.). IV, 37" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:31:18.743Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?note_annotation_20230423153118743#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[14]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteInternal", "dc:format": "text/plain", "rdf:value": "Ovid's Remedia Amoris, line 405; Rolfe Humphries' translation in The Art of Love (Bloomington, 1957) p. 193" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/ladden_0_0_0_0_0_0.xml?person_annotation_20230423153503042", "type": "oa:Annotation", "dcterms:created": "2023-04-23T19:35:03.042Z", "dcterms:creator": { "@id": "2", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane 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angels laughed at me from the heavens (Raimbaut d'Orange, while some less gracious ladies chuckled from the wings.)</caption></figure> <p>The attitudes in <emph>True Romances</emph> (and in most of our pasts) originally shone forth from 12th-century troubadour poetry and even then they were a little tarnished. Chaste, idealistic and upper-class, medieval troubadour poetry supposedly countered a strong tradition of misogyny. It also supposedly elevated woman by upholding that same feminine mystique which, for centuries, the Christian fathers had diligently tried to demolish: "Corporeal beauty is nothing else but phlegm, and blood, and humor, and bile, and the fluid of masticated food...." said <persName key="John Chrysostom" ref="http://www.wikidata.org/entity/Q43706">John Chrysostom</persName>, a saint, in the 4th century. "When you see a rag with any of these things on it, such as phlegm, or spittle, you cannot bear to touch it even with the tips of your fingers. . . . Are you in a flutter of excitement about the storehouses and depositories of these things?" <note type="researchNote">"An Exhortation to Theodore after His Fall," in <title key="Nicene and Post-Nicene Fathers" ref="http://www.wikidata.org/entity/Q16152258" level="m">A Select Library of the Nicene and Post-Nicene Fathers</title>, ed. <persName key="Philip Schaff" ref="http://www.wikidata.org/entity/Q115922" type="real">Philip Schaff</persName> et al. (New York, 1889), IX, 103-104.</note></p> <p>Woman was so many layers of mucous membrane. And writings from 6 and 7 centuries later attest to the muddy strides saints and clerics had taken in the interim: "If her bowels and flesh were cut open, you would see what filth is covered by her white skin. If a fine crimson cloth covered a pile of foul dung, would anyone be foolish enough to love the dung because of it?" <note type="researchNote">From the <emph>Carmen de Mundi contemptu</emph>, quoted in <title><emph>Not in God’s Image</emph></title>, ed. <persName key="Julia O'Faolain" ref="http://www.wikidata.org/entity/Q6306620">J. Ofaolain</persName> and <persName key="Lauro Martines" ref="http://www.wikidata.org/entity/Q63718996">L. Martines</persName> (New York, Harper and Row 1973), p. xlij. <persName key="Odo of Cluny" ref="http://www.wikidata.org/entity/Q454553">St. Odo of Cluny</persName> had earlier phrased this with almost identical wording in his <emph>Collationes</emph>, lib. 2, cap. 9 (in <persName key="Jacques Paul Migne" ref="http://www.wikidata.org/entity/Q326431">J. P. Migne</persName>’s <title key="Patrologia Latina" ref="http://www.wikidata.org/entity/Q548044" level="m">Patrologia Latina</title> (Paris, 1844-82). CXXXIII, 556), while Ancrene Riwle (below) directly refers to a similar expression in St. Bernard's <title>Meditationes Plissimae de Cognitione Humanae Conditionis</title>, cap. 3 (Migne, op, cit., ClXXXIN 489); The key phrases are "stercoris saccum” and saccus stercorum” —literally, a bag of shit.</note> Now, woman was simply so much manure smattered across the coprophagous pages of Christian doctrine.</p> <p> The wheels of progress kept on turning. A 13th-century work addressed itself specifically to women—three worthy recluses: "What fruit does your flesh yield from all its openings?" began their catechism. "Between the taste of mouth and smell of nose, aren’t there holes like two privy holes? Aren't you born of foul slime? Aren't you worm-food?" <note type="researchNote">The Early English Text Society's <title key="Ancrene Wisse" ref="http://www.wikidata.org/entity/Q489442" level="m">Ancrene Riwle</title>, ed. <persName key="Dobson, James E." ref="http://viaf.org/viaf/187144782706114501587/">E. J. Dobson</persName> (London, 1972), pp. 202-203; author's translation.</note> To the Church, woman was simply full of shit. Yet this was the legacy bequeathed to the Middle Ages where the love of woman was a cult—an absolute prerequisite for respectability. And love flourished. Of course, misogyny continued to flourish too. Woman would still be called "a stinking rose" and "glittering mud” and "a temple built over a sewer." <note type="researchNote"><persName key="Salimbene" ref="http://www.wikidata.org/entity/Q108446705">Salimbene</persName>, in <title>From St. Francis to Dante: Translations from the Chronicle of the Franciscan Salimbene</title> (1221-1288). 2nd ed., ed. and trans. <persName key="Coulton, G.G. (George Gordon), 1858-1947" ref="https://www.wikidata.org/wiki/Q1998582">G.G. Coulton</persName> (London, 1907), p. 97. and <persName key="Tertullian" ref="http://www.wikidata.org/entity/Q174929">Tertullian</persName>, quoted in G.L. Simon's <title level="m">A History of Sex</title> (London, New English Library, 1970). p. 71</note> But, as sister to <persName key="Mary" ref="http://www.wikidata.org/entity/Q345" type="real">Mary</persName>, she was also the mystical elevator of the masculine soul which, by its nature, gravitated toward perfection. By merely contemplating woman in her golden radiance, man could rise to spiritual heights in a kind of "gilt" by association. For somewhere between the muddy slime and the hazy castle spire, a new woman had been spawned. Like the enchanted fay (fairy) of Celtic lore, she moved softly, gliding over but never touching terra firma, surrounded by auras so fragile that they were better left unpenetrated. But these were beautiful, mysterious and promising auras, and scribes feverishly copied down the formulas for keeping them intact: "If you have ugly teeth, don't laugh with your mouth open." "Practice making pretty speeches." "Dye your hair; wear false hair if you have lost your own." <note type="researchNote"> From L<title>a Clef d'amor and La Cour d'aimer</title> in <persName key="Nina Epton" ref="http://www.wikidata.org/entity/Q18705131">Nina Epton</persName>'s <title>Love and the French</title> (London, 1959), pp. 30ff </note></p> <p> <persName key="Andreas Capellanus" ref="http://www.wikidata.org/entity/Q4340">Andreas Capellanus</persName>, <persName key="Jacques D'Amiens" ref="https://www.wikidata.org/wiki/Q95795577">Jacques D'Amiens</persName>, <persName key="Robert de Blois" ref="http://www.wikidata.org/entity/Q1774110">Robert le Blois</persName>, <persName key="Garin lo Brun" ref="http://www.wikidata.org/entity/Q1778218">Garin le Brun</persName>, <persName key="Drouart la Vache" ref="http://www.wikidata.org/entity/Q54834439">Drouart la Vache</persName>, <persName key="Pierre Ermangaud" ref="http://www.wikidata.org/entity/Q20922145">Ermangaud</persName> and <persName key="Richard de Fournival" ref="http://www.wikidata.org/entity/Q2121581">de Fournival</persName> —all added their instructions to the heap: Lie. Cheat. Drop names, if you have to. Drop dead, if you have to. Anything.</p> <p> Maintaining the mystique was the important thing, and that meant keeping the distance. It meant the ecstasy was in the wooing while sex lay in the winding down. Even the ladies understood that attainment decreased their value, and many who loftily kept their suitors well below thigh level would rather have had it otherwise. After all, as even the ladies knew: a <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_045.jpg"/> lover is a vision surrounded by auras. But flesh and blood is flesh and blood... and phlegm and dung and mucous and bile and etc.</p> <p> Once woman ceased to be a symbol, she became a person, a passion, a robber of reason–a literal and metaphorical scum-bag.</p> <p> No wonder the ladies were afraid to submit. With submission, love and its raison d'être became the discarded backdrop for a fait accompli. The love was no longer ennobling (ergo: the animal soul pawed and dragged down its rational counterpart), and the woman was no longer mounted on a pedestal (ergo: with the man on top, she was mounted, period). And man's desire—well, that often died along with his suffering.</p> <p> It's natural, then, that the really legendary lovers chose the most distant and unattainable objects they could conceive of. <persName key="Guilhem de la Tor" ref="http://www.wikidata.org/entity/Q3779564">Guilhem de la Tour</persName>, for instance, loved the woman he lived with. <note type="researchNote">For troubadour biographies, I have consulted <persName key="Jean de Nostredame" ref="http://www.wikidata.org/entity/Q1218411">Jehan de Nostredame</persName>, <title>Les Vies des Plus Celebres et Ancien: Poetes Provencaux</title>, ed. <persName key="Camille Chabaneau" ref="http://www.wikidata.org/entity/Q1029137">Camille Chabaneau</persName> (1913; rpt Geneve, 1970—first published in 1575); <title>La Curne de Sainte-Pelaye</title>, <title key="La Curne de Sainte-Palaye, Jean-Baptiste de, 1697-1781. | Histoire littéraire des troubadours" ref="http://viaf.org/viaf/516154387331530970006/">Histoire Litteraire des Troubadours</title> (1774 rpt. 3 vols. in 1, Genève, 1967); and <persName key="Víctor Balaguer i Cirera" ref="http://www.wikidata.org/entity/Q713246">Victor Balaguer</persName>, <title>Los Trovadores</title>, 2nded. (Madrid, 1883). 4 vol.</note> Now such women were worn on everyday occasions and were inevitably mundane. But Guilhem's enamorata was unearthly; in fact, she was dead. On the eve of her burial, Guilhem visited her grave and, after ten days of morbid embracing and poignant conversation (she was a good listener), he went home firm in the belief that she would rise from her tomb and come back to him. She didn't. But for years, it was only <persName>Beatrix</persName> he longed for. She was the perfect lover—mystical ethereal and unobtrusive. It was a passion that rivaled even <persName key="Jaufré Rudel" ref="http://www.wikidata.org/entity/Q5260">Jaufre Rudel</persName>'s.</p> <p> Jaufre Rudel was ingenious. In an age which valued prolonged desire, he contrived a wonderful device. He fell in love with the <persName key="Hodierna of Jerusalem" ref="http://www.wikidata.org/entity/Q53114">Countess of Tripoli</persName>—a woman he had never seen but whose beauty had filled his imagination so enchantingly that southern France became a glorious vantage point. And so it remained for several years until, despite the protests of his friends and patron, he resolved at last to cross the ocean to be near her. </p> <p>Maybe he just got sick. Or maybe, as his biographers prefer to believe, the anticipation of seeing her was too much for his little heart to bear. In any case, as the boat was approaching Tripoli, he apparently expired. But only apparently. For as the countess rushed to his side, her presence revived him and he pronounced himself fulfilled at last and died again in her arms— a self-extinction metaphorically equivalent to orgasm, but which Jaufre seems to have taken much too literally, since <persName key="Petrarch" ref="http://www.wikidata.org/entity/Q1401">Petrarch</persName> and other chroniclers affirm that this time he actually did die, and in all probability with his pants on. <note type="researchNote">Jaufre was not the onty fatality of romance. Andrieu of France—eulogized by at least six troubadours —also fell victim to “too much love" and hed never set eyes on his lady either. See Jehan de Nostredame, op. cit., pp. 166, 180</note> </p> <p> True, Jaufre was a strange and nearly legendary breed. But while to him sex must have seemed an unspeakable defilement, most were not so theoretical. Even troubadours who constantly reminded women that sex was debasing and honor was all had an ultimately sensua physicality in mind. Woman was like a fine wine. A man twirls it about, observes its color, its clarity, savoring its bouquet and rolling it around on his languishing taste-buds. And though the swallow is only the means to the end, the end is still very definitely in view. Most pleas for chastity were only lip-service. Even <persName key="Sordello" ref="http://www.wikidata.org/entity/Q665165">Sordello</persName>, a troubadour who repeatedly swore he'd rather die than see a lady even taint her honor, happened to kidnap a Veronese countess and that didn't help her honor a bit. Nor did it discredit his poetry. Such scandal was irrelevant. In fact, women were irrelevant. Love was the important thing and the trick was to keep it alive as long as possible, feeding it little by ever-so-little in an extended and delicious tease. Men could nudge at the gates to the ovarian fortress, but entrance, they knew should be delayed. The ultimate object was sex; men wanted what they waited for. They just didn't want it right away. And this largely explains why other men's wives proved such suitable candidates for adoration. Forbidden, illicit, deliciously dangerous—yet slightly damaged, they promised all the more to be ultimately affordable. They were perfectly fashioned for desire.</p> <p> Desire is a tricky business. In Greece <persName key="Plutarch" ref="http://www.wikidata.org/entity/Q41523">Plutarch</persName> had admired Spartan marriages where, for years, man approached his wife in darkness in secret and in haste "so as not to be satiated... there was still place for unextinguished desire." <note type="researchNote"><title key="Parallel Lives" ref="http://www.wikidata.org/entity/Q842337">Plutarch’s Lives,</title> trans. Langhorne (London, Frederick Warne, n.d.). IV, 37</note> It was a useful formula and was later picked up in the Middle Ages when the notion of infrequent and clandestine meetings was embraced a lot more than the ladies were. The medieval magic of love was uncertainty. Even the romances preserved this ideal. The lady could be snatched away at any moment by a darkening scandal or a jealous husband, or be absorbed into the ethers which spawned her disappearing into the mist on a white palfrey. The knight wanted her like that: distant, pure, mysterious, virginal —a blonde Mary ascending into <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_046.jpg"/> heaven, looming over the castle horizon with only a little soot on her feet suggesting that she didn’t belong there.</p> <p> Never mind that the only pure-white creature was the post-menopausal albino rabbit—or that even the ladies depicted in romance were potentially swivers of heroic proportions. Since sex distinguished the distant fay from the dung-filled floozy, relatively sexless love became prevalent, and many women—whether they liked it or not—played along.</p> <p> There were advantages, of course. Love became a rare delicacy whereas before it had been something like yesterday's leftovers. As <persName key="Ovid" ref="http://www.wikidata.org/entity/Q7198">Ovid</persName>'s classical formula goes: "Pleasure coming slow is the best"; <note type="researchNote"><title key="Remedia amoris" ref="http://www.wikidata.org/entity/Q1236392">Ovid's Remedia Amoris</title>, line 405; <persName key="Rolfe Humphries" ref="http://www.wikidata.org/entity/Q7360825">Rolfe Humphries</persName>' translation in <title>The Art of Love</title> (Bloomington, 1957) p. 193</note> meaning, the longer the foreplay the better the orgasm; meaning, some courtly couples, when they finally did come, must very nearly have blown their brains out.</p> <p> But some, for sure, were disappointed. Women were dropped, men bumbled like <persName key="Percival" ref="http://www.wikidata.org/entity/Q728510" type="fictional">Perceval</persName> or—like some knights in the bawdier tales— they'd win their ladies with lots of pomp and peter out before they could even open the package, their worlds ending not with a bang but a whimper. These were particularly grateful for courtly love.</p> <p> Courtly love was a game of foreplay whose rule was often touch and go; it was an answer (and a spur) to impotence. Some knights were barely post-pubescent and many were sexually insecure, preferring rich expectations to poor reputations and one-night stands. Better to tilt about the countryside, flaunting a passion and flailing a sword (the sword had always been a metaphor for penis—"vagina" is merely Latin or "sheath"), imagining a truly magnificent sexual prowess when the real thing was maybe limp by comparison. Love by its very nature was a test, and knights were afraid to take the exam. Or sometimes, it was better to put it off than to put it in.</p> <p> Love became formalized. The knight waxed and grew pale, and waxed, and waxed, and waxed. It was blissful and aggrandizing anticipation. Too bad if a lady sometimes felt cheated—if watching her knight charging and gleaming, she secretly wished hed get off his high horse and get down to business. What could the women do? Their iron-clad men performed in the tournaments. Ramming, sweating, thrusting and galloping. . . . Ah, those impervious men in the metal suits.</p> <p> ...The only things naked were their swords.</p></div> </body> <back> <div><p>Ariene Ladden is a poet, scholar and medievalist who teaches at LaGuardia Community College in New York. She is interested in "the forces motivating culture—especially the more absurd ones," and in this spirit is now working on a cultural history of sex and power. She is also co-authoring a textbook series on literature and creative writing for children.</p></div> </back> </text> </TEI>
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Iskin</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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In addition, none of the protesters mentioned\n\t\t\t\t\t\tany criticism of art forms; all their comments tended to focus on content,\n\t\t\t\t\t\tand most of them made reference to a general distaste for feminism." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": 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"oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105208940#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "All the\n\t\t\t\t\t\tquotations from artists are from recent interviews conducted for this\n\t\t\t\t\t\tarticle" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description 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April, 1971), in which tearing\n\t\t\t\t\t\tthe seal implied not only physical violation in order to \"enter\" the\n\t\t\t\t\t\tlong-hidden works of women artists, but also the destruction of a square\n\t\t\t\t\t\tcold black seal on a white cover, which represented the prevalent Minimal\n\t\t\t\t\t\tArt, to reach the warm inside covers, colored red." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105232624", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:52:32.624Z", "dcterms:modified": "2022-10-22T14:52:32.624Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105232624#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105232624#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[17]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Kollwitz's etching Raped is\n\t\t\t\t\t\tunique in its complete focus on the experience of the raped woman: she is\n\t\t\t\t\t\tlying on the ground, dead or unconscious. Neither the rapist nor his act are\n\t\t\t\t\t\tin the picture." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": 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"oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105246856#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[20]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "The men seemed to react neutrally to the\n\t\t\t\t\t\tshow, probably because the art did not expose their experience, and\n\t\t\t\t\t\tpossibly, as was suggested to me by Glenda Madrid, because they are more\n\t\t\t\t\t\tprone to intellectualize and thus more removed from the level of emotional\n\t\t\t\t\t\tresponse the show raised for women." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105255922", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:52:55.922Z", "dcterms:modified": "2022-10-22T14:52:55.922Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105255922#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105255922#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[21]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "When I curated the Aerospace exhibition I did\n\t\t\t\t\t\tcensor myself at one point: l did not include Chicago's Red Flag lithograph\n\t\t\t\t\t\teven though, dealing with menstruation, it would have fit well into an\n\t\t\t\t\t\texhibit on female experience in art. Its literal character prevented me from\n\t\t\t\t\t\texhibiting it in that context, as l anticipated that it would be shocking to\n\t\t\t\t\t\tthe audience." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105308940", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:53:08.940Z", "dcterms:modified": "2022-10-22T14:53:08.940Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105308940#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105308940#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[9]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Orbiter, Vol. 15, No. 17 (1975), p. 2." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": 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"oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "12. Ibid." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105328407", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:53:28.407Z", "dcterms:modified": "2022-10-22T14:53:28.407Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105328407#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105328407#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[27]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Joanne Parent (one of the authors of \"The Fourth World\n\t\t\t\t\t\tManifesto\") told me the following incident. While she was working in a\n\t\t\t\t\t\tfactory, experiencing first-hand the hardships involved, she understood how\n\t\t\t\t\t\twell Rivera's mural portrayed those; but when she commented on that to her\n\t\t\t\t\t\tfellow workers they negated or at least minimized their own experience of\n\t\t\t\t\t\toppression compared to its heightened portrayal in the mural. The similarity\n\t\t\t\t\t\tto women's situation is that workers who (consciously or unconsciously) feel\n\t\t\t\t\t\tpowerless in their jobs deny the pain of their experiences if its expression\n\t\t\t\t\t\twould jeopardize the only wage-earning option available to them. It is no\n\t\t\t\t\t\taccident that women all over the country first explored their oppression in\n\t\t\t\t\t\tthe private, safe, and supportive context of consciousness-raising groups,\n\t\t\t\t\t\tremoved from the institutions in which they experienced that oppression in\n\t\t\t\t\t\ttheir daily lives." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", "xsd": "http://www.w3.org/2001/XMLSchema#", "fabio": "https://purl.org/spar/fabio#", "bf": "http://www.openlinksw.com/schemas/bif#", "cito": "https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105340474", "type": "oa:Annotation", "dcterms:created": "2022-10-22T14:53:40.474Z", "dcterms:modified": "2022-10-22T14:53:40.474Z", "dcterms:creator": { "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105340474#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105340474#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[27]/note[2]" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "It is for this reason that feminism and\n\t\t\t\t\t\tfeminist art have validity for all women. For the same reason, the Marxist\n\t\t\t\t\t\tmodel of workers' oppression does not ultimately address itself to women's\n\t\t\t\t\t\toppression, beyond that of working-class women. For an extensive analysis of\n\t\t\t\t\t\tthese issues see \"The Fourth World Manifesto,\" reprinted in: Radical Feminism, Anne Koedt, Ellen Levine, Anita Rapone, eds. (New York, 1973), pp.\n\t\t\t\t\t\t322-357." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": 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"oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105419873#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[11]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Orbiter, Vol. 15, No. 20\n\t\t\t\t\t\t(1975), p. 2." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, 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{ "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105428906#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105428906#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[12]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Art Week, Vol. 6, No. 29 (Sept. 6, 1975)" }, 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"as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105438789#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[13]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Glenda Madrid, in a\n\t\t\t\t\t\trecent conversation with the author. Madrid was also a major source of\n\t\t\t\t\t\tinformation for the responses to the exhibition and the statistics and\n\t\t\t\t\t\tposition of women employees at Aerospace." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": 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"https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?note_annotation_20221022105501256#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[32]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "The Feminist Studio Workshop is\n\t\t\t\t\t\tthe first alternative institution for women in the arts and humanities; it\n\t\t\t\t\t\tis housed in the unique context of the Woman's Building in Los Angeles.\n\t\t\t\t\t\tSince it was founded in 1973, over 100 women have received their education\n\t\t\t\t\t\tat the Feminist Studio Workshop, and several thousand students have\n\t\t\t\t\t\tparticipated in the Extension Program at the Woman's Building." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": 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"oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/iskin_0_0_1_0_0_0_0_0_0.xml?person_annotation_20250423150612281#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[27]/note[2]/persName[3]" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://viaf.org/viaf/6208878", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_073.jpg"/> <div> <head><title>"Female Experience in Art": The Impact of Women's Art in a Work Environment</title></head> <byline><persName><persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/">Ruth E. Iskin</persName></persName></byline> </div> <div> <p> In early summer of 1975 I was asked by the Women's Committee and the Office of Equal Opportunity of Aerospace Corporation to curate an exhibition of women's art on the subject of female experience. This seemed to me to offer the potential of reaching a broad audience and avoiding the defensive reactions often attached to "feminist art" or "female sensibility" in the art world.<note type="scholarNote">The exhibition also provided a good starting point for sorting out my own views on the more complex issues of feminist content and female sensibility in art, though 1prefer the term "female form language“ to "female sensibility" or "female imagery" because the latter have come to be identified with one specific, biologically oriented theory.</note> This art has been at the heart of an ongoing, often heated controversy which has clouded the issues and obstructed direct perception of the work. </p> <p>Female experience has been the starting point for the new art created by feminists since 1969. Consciousness raising and other forms of women's communication, sharing and group action, initiated as a result of the women's movement, made female experience a rich source of subject matter and sparked the fresh energy with which women are making art. For the show I selected the work of 15 L.A. artists<note type="scholarNote">Funding limitations did not permit the inclusion of works by artists who reside outside of the L.A. area.</note> to represent both a broad scope of women's experiences and a diversity of media, ranging from large environmental pieces to paintings, drawings, photography, prints, collage, assemblage, and artists' books. In an attempt to build a bridge between the art and the creators' intentions, I requested written statements from the artists, which, along with biographical information, were available in a folder in the exhibition area.</p> <p>The exhibition was on view from August 18th through September 5th in the Cafeteria Conference Dining Rooms of the Aerospace Corporation. It was the first exhibition of professional art on the company's grounds, preceded only by shows of art by employees. Although sponsored and funded by the corporation, the show was initiated by feminist employees who conceived it to offer "insight into the emotional aspects of contemporary women."<note type="scholarNote"><title><emph>Orbiter</emph></title>, Vol. 15, No. 20 (1975), p. 2, from a letter to the editor by the Women's Week Planning Committee.</note> They scheduled it to coincide with Women's Week, a program featuring prominent speakers and entertainers.</p> <p>The management of Aerospace Corporation ("a non-profit research and development corporation which provides technical direction of general systems of engineering, primarily for the Air Force") had been forced to develop new policies for hiring women in order to meet affirmative-action requirements for receiving government funds. Women are in the minority, constituting only 25% of the roughly 3,200 Aerospace employees. Most of them (80%- 85%) are in lower-echelon clerical and secretarial positions; only a few rank among the engineers, scientists, or chief administrators. The company was, no doubt, hoping that the art exhibition and the activities of Women's Week would go on record as testimony to their newfound good will toward women. Much to my surprise, and to the dismay of the sponsors, the exhibition became the focal point of hot debate. Violent emotional reactions, protest and support quickly assumed the dimensions of a local scandal and echoed for months in letters to the editor in <emph>The Orbiter</emph>, the company's newspaper.</p> <p>The art in the exhibition offered a feminist point of view on subject matter usually treated from a male perspective. Though one might assume that the controversial responses arose out of an alienation from contemporary art forms, it seems that the conflict stemmed primarily from feminist content.<note type="scholarNote">Though some of the non-feminist viewers more familiar with contemporary art forms did not share the protesters' offense, it is very unlikely that a "neutral" exhibit of contemporary art would have caused similar negative reactions. In addition, none of the protesters mentioned any criticism of art forms; all their comments tended to focus on content, and most of them made reference to a general distaste for feminism.</note> None of the works included were blatantly political protest art, yet they all reflected, to varying degrees, a new feminist consciousness. It was this consciousness—judging from the reactions of many of the female viewers—that was unfamiliar and threatening.</p> <p>We are accustomed to think of political art as crude, illustrative, or plainly propagandistic, in contrast to "good/serious/modernist" art. It has of course been pointed out that no art is entirely disconnected from its historical, political, cultural, and geographical environment, and that therefore any art reflects these conditions. However, feminist art is often labeled political art because the consciousness it reflects is held by a minority, and it is at odds with the tacit beliefs of those in power. The label "political art" is used to demean the work rather than to evaluate its artistic significance.</p> <p>In a recent interview with <persName key="Judy Chicago" ref="http://www.wikidata.org/entity/Q441440">Judy Chicago</persName>, the artist articulated her thoughts and feelings about these issues:</p> <quote>The issue of politics for me arises at the point where my work interfaces with culture; it does not arise at the point of origin in my studio. never think about politics when I make my art; rather I think about being true to my own impulses, and for a woman to be true to her own impulses is, at this point in history, a political act.... What I challenge is the idea that masculinity is inherently better than femininity; that hardness is better than softness, that defensiveness is better than vulnerability, and <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_074.jpg"/> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_075.jpg"/> that violence is better than sharing. The assertion of womanhood is a challenge to all these values that allow war, dehumanization, rape, and art that lacks relationship with reality to continue.<note type="scholarNote">All the quotations from artists are from recent interviews conducted for this article</note></quote> <p> <persName key="Faith Wilding" ref="http://www.wikidata.org/entity/Q5431238">Faith Wilding</persName> elaborated on the relation between personal and political change:</p> <quote>It has always been a tenet of the feminist movement that the personal is political. It is political because when a person becomes transformed, enters into public experience, and infuses her own experience into the public, the world becomes transformed for her, but in addition she then has the possibility of transforming the world.... We have witnessed too many people who are in politics who have never experienced any kind of personal change or real vision....</quote><p> What specifically triggered the controversy? The art in the exhibition included a wide range of feminist work: parodies on public images of women (<persName>Helen Alm Roth</persName> and <persName key="Carole Caroompas" ref="http://www.wikidata.org/entity/Q5044669">Carole Caroompas</persName>); private images of women and interior spaces (<persName>Margaret Neilson</persName>); women's self-images integrated with their historical and mythological references (Judy Chicago and Faith Wilding); references to women's vulnerability, powerlessness, and powerfulness (<persName key="Astrid Preston" ref="http://www.wikidata.org/entity/Q108480540">Astrid Preston</persName>); relics of admired female figures as magic talismans (<persName>Hazel Slawson</persName>); communal efforts (<persName>Maria Karras</persName>); and the quilt/grid pattern and color pink seen as tributes to women's collaborative forms (<persName key="Sheila Levrant de Bretteville" ref="http://www.wikidata.org/entity/Q13560673">Sheila de Bretteville</persName>).</p> <p>In her tableau environment <emph><title>Remnants in Homage to Lily Bart from Edith Wharton's House of Mirth</title></emph>, <persName key="Nancy Youdelman" ref="http://www.wikidata.org/entity/Q19668110">Nancy Youdelman</persName> "reconstructed" a scene from the book with theatrical grandeur and presence. The tableau represents the climax of <persName key="Edith Wharton" ref="http://www.wikidata.org/entity/Q276032">Wharton</persName>'s novel, when Lily Bart, having lost her wealth and status, kills herself. Hauntingly life-like, her full-size figure, bearing the artist's own features, reclines in bed. Her skin tone is grayish and the sleeping drops that caused her death are by the side of her bed. The floor is cluttered with remnants of her life: letters, photographs, delicate laces dresses, corsets, and veils. Youdelman creates metaphors (sleep, passivity, death) for what have been essential aspects of female experience: economic dependence on others, lack of ultimate control over one’s own life, victimization by circumstances. In the guise of a 19th-century tragedy, Lily Bart's story is emblematic for women who have remained powerless in society.</p> <p>In Youdelman's photographic series <emph/><title><emph>Leaves: A Self Portrait</emph></title>, the artist is lying on the ground, gradually being covered with leaves (from photograph to photograph) until she is entirely buried:</p> <quote>It represented ways I felt; I felt numb all over, or like a sleepwalker, something that could just disappear and I think that is that powerlessness in female experience, sleep. There is also something esthetic about it; I love the color of the leaves; it is about death and one could suppose that it might also mean renewal.</quote> <p> Youdelman treads on precarious ground in presenting the passive female figure, lying unconscious as horizontal female figures have so often been used in the history of (male) art to entice the spectator by reminding him of his vertical superiority. However Youdelman's tableau successfully evokes the solemn empathy of the viewer who is confronted with the <emph>victim's</emph> feelings about her powerlessness.</p> <p>In <persName>Jan Lester</persName>'s tableau environment—<title><emph>Cats Enamoured Kits: Helpless Tom and Merciless Sex Kitten</emph></title> (1974)—two cats are anthropomorphized to enact a sexual-encounter scene. The human environment, dress, and behavior patterns throw into relief the stereotyped patterns of men and women, only the roles are reversed. The female cat plays the determined "attacker," the seducer, while the male cat withdraws with some apprehension. At the same time, Lester sees her work as a manifestation of how women are perceived when they take an active role in a situation:</p> <quote>The tableau had to do with sexual politics and with the female taking power. It goes farther than just one sexual encounter, it goes out into the world in general. It is <emph>one</emph> situation like a snapshot that makes it clear that this goes on in all situations in society.</quote> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_076.jpg"/> <p><persName key="Sherie Scheer" ref="http://www.wikidata.org/entity/Q28883455">Sherie Scheer</persName>'s series—<placeName><emph>Heavenly Visions</emph></placeName>— depicts Fragonard-inspired images of her own baby as a cherub floating in an infinite blue California sky. "Wherever they go, they have no choice in it.... The heavenly vision in which they appear is both ideal and it is limbo." This reflects Scheer's own experience as a first-time mother:</p> <quote>I found the child very sensual. It was unexpected to me what a strong female biological experience it was to have a child, and then to be absolutely in love with the child. In the course of using her as model, however, I made her cry, sometimes neglected her, and in a way <emph>used</emph> her, both as a model and as inspiration.... I was aware that the art that makes it in L.A., or made it at the time (two years ago) was non-image-oriented and I am very image-oriented. I was also entirely aware that showing babies in one's art was really outrageous and it gave me a devilish pleasure, because I think that a lot of art that makes it is empty formula and doesn’t have any blood in it; it is not daring and it is not a turn-on either. So it was like breaking a taboo, and especially for a woman artist.</quote> <p>Like Scheer, <persName key="Gilah Yelin Hirsch" ref="http://www.wikidata.org/entity/Q5560700">Gilah Hirsch</persName> deals with female power within its traditional domain. She uses the imagery of food as "a secret biography, a metaphorical code."</p> <quote>The shape and color of food itself was so completely right and ripe for my own feelings that it became a symbol for me; especially the tomato, strawberry, and egg became symbols for myself. These are expressed in scale and potency; it is a strange word to use in relationship to an egg, a potent egg. The strawberry is one of the few fruits that carries its seed on the outside, it is a vulnerable fruit; it is juicy and has strength and vulnerability at the same time. Rather than feminist, these paintings are, 1 think, more expressive of femaleness. It was a personal statement for me....l can't separate my experience from a female experience; 1 feel powers in me, very specifically in certain centers in me.</quote> <p><persName key="Suzanne Lacy" ref="http://www.wikidata.org/entity/Q7650894">Suzanne Lacy</persName>'s book <title key="Rape Is" ref="https://www.suzannelacy.com/rape-is#:~:text=Rape%20Is.-,(1972),the%20Happiness%20Is%20book%20genre."><emph>Rape Is</emph></title> (1972) has a white cover which becomes bloody red on the inside. To open the book one must tear apart a red sticker labeled "rape."<note type="scholarNote">The precedent for this feminist use of the sticker is <persName key="Susana Torre" ref="http://www.wikidata.org/entity/Q7648617">Susana Torre</persName>'s exhibition catalogue for "Twenty-Six Contemporary Women Artists" (Aldrich Museum, Ridgefield, Conn. April, 1971), in which tearing the seal implied not only physical violation in order to "enter" the long-hidden works of women artists, but also the destruction of a square cold black seal on a white cover, which represented the prevalent Minimal Art, to reach the warm inside covers, colored red.</note> Lacy's book names 21 instances of rape—not only as a sexual violation but also as a series of psychological assaults:</p> <quote>Rape is when you are skipping home from school, and are surrounded suddenly by a gang of large boys. Rape is when the man next door exposes himself and you feel guilty for having looked. Rape is when you're walking alone, thinking your own thoughts and a man driving by shouts "HI SWEETIE!"</quote> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_077.jpg"/> <p> The traditional representation of rape in art (with the exception of <persName key="Käthe Kollwitz" ref="http://www.wikidata.org/entity/Q142472">Kollwitz</persName><note type="scholarNote">Kollwitz's etching <title><emph>Raped</emph></title> is unique in its complete focus on the experience of the raped woman: she is lying on the ground, dead or unconscious. Neither the rapist nor his act are in the picture.</note>) represents the experience of the rapist by focusing on his strength, activity and beauty, and further removes rape from a realistic experience through mythological disguise. Lacy first forces the viewer to enact a metaphorical rape ("deflowering" the book by tearing the sticker) and then confronts the viewer with what rape means to its victim.</p> <p>In <persName key="Karen Carson" ref="http://www.wikidata.org/entity/Q19802644">Karen Carson</persName>'s drawings of beds (1971-75) woman is the bed. The drawings are expressionistic in style and imagery, powerful as well as satirical statements about the myth of happiness in sexual relationships. In this case, too, the "disturbing“ feminist content of Carson's drawings arises from the art-historical tradition of reclining female figures on beds and sofas. Many of these women become an integral part of the inanimate, passive, yet sexually inviting surface on which they are reclining. Unlike males Carson identifies with the oppressed— the woman/bed—and at the same time, as artist, she takes active charge of that surface, penetrates it with a giant screw (<title><emph>Screw</emph></title>), converts it into a carton of eggs (<title><emph>Easy Lay</emph></title>), severs it with a saw blade (<title><emph>Edge of Night</emph></title>), or crowns it with a giant camera (<title><emph>Easy Shot</emph></title>).</p> <p>These surreal visualizations are take-offs on popular puns, which function as titles and were often the starting points for the drawings. The series began as a macabre though humorous comment on popular sexist consumerism. What emerges is a violent denunciation of sexual roles, until finally the bed—former haven of consumer pleasure—disintegrates from <emph>within</emph> (<title><emph>Cracking Up</emph></title> and <title><emph>Shattered Dreams</emph></title>), smashing any illusions we might still have about bed and woman. In these most recent drawings the formerly inanimate object erupts uncontrollably, and its fragments fly into space. What is commonly labeled Women's Liberation is in fact, as Carson expresses it, an excruciatingly painful process beginning with the recognition of exterior oppression, leading to the experience of oppression from within and finally building toward a complex re-integration—represented by the artist's new work—collages in which the torn and mutilated fragments are reunited on a cohesive surface.</p> <quote>I would say that these drawings were intentionally propagandistic.... It had to do with consumer and sexual politics. The frame of mind that I was in when I did these drawings was severe frustration over treatment by men. The drawings were also politically charged for me because I talked about them to all kinds of groups from Valley housewives to a continuation high school culture-hour class; thought people would be bored by these draw<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_078.jpg"/>ings and they weren't. They seemed to have a good time, and related to the drawings immediately. Now, it is not necessary to have a good time when viewing art, but there was blanket recognition of the issues. When I looked in the newspaper I noticed that you could apply sexual politics, directly or indirectly, to almost every image in the advertisement world; every image implies sexual oromises. My original fantasy was that I would have enough money to take out a full page ad in the <title key="Los Angeles Times" ref="http://www.wikidata.org/entity/Q188515"><emph>L.A. Times</emph></title>, and just change the images a little bit. Obviously the most political thing about that was my fantasy about how many people 1 could reach that way. It is the nature of good political art to be recognizable and understandable by a lot of people and maybe at a visceral level too. Political art is often satirical, and probably most effective at that level.</quote> <p>The exhibition provided an opportunity to witness the heightened impact of contemporary feminist art when viewed by a "non-art" audience—a cross-section of middle America that normally would not encounter art, and specifically by a female audience alienated from feminism. (The negative response came primarily from women<note type="scholarNote">The men seemed to react neutrally to the show, probably because the art did not expose their experience, and possibly, as was suggested to me by <persName>Glenda Madrid</persName>, because they are more prone to intellectualize and thus more removed from the level of emotional response the show raised for women.</note>) It can also be seen as a test case for implementing a long-desired goal —bringing art into a public daily work environment.</p> <p>Had the show at Aerospace been exhibited in any number of established or alternative gallery spaces, it probably would not have caused unusual debate, and certainly it would not have prompted any doubt about the artistic merit of the work.<note type="scholarNote">When I curated the Aerospace exhibition I did censor myself at one point: l did not include Chicago's Red Flag lithograph even though, dealing with menstruation, it would have fit well into an exhibit on female experience in art. Its literal character prevented me from exhibiting it in that context, as l anticipated that it would be shocking to the audience.</note> In the Cafeteria Conference Rooms of Aerospace, however, the exhibit infiltrated a male environment that ordinarily would not display women's work made from a feminist perspective and certainly would not give it public acclaim. The work was predominantly considered scandalous: it engendered passionate objections and firm negative judgments. The show was labeled <emph>pornography</emph> rather than <emph>art</emph> by people who were unlikely ever to have considered what is or isn't art.</p> <p>This disclaimer was the protesters' attempt to dismiss such threatening and upsetting material. Casting it as pornography implied that the art lacked any real esthetic value and therefore need not be taken seriously. The level of naiveté of the critical responses—when opposed to the more sophisticated criticism to which we are accustomed from much of the art world— was refreshing in its directness. One letter of protest stated:</p> <quote>I object to the Art Exhibition. I find it degrading. As a woman, and hopefully a lady, find it extremely offensive. I am unable to lower my sights to the gutter level of this exhibit. In my opinion, it is lewd, vulgar, obscene and immoral. Since when did good taste and modesty go out-of-style?<note type="scholarNote">Orbiter, Vol. 15, No. 17 (1975), p. 2.</note></quote> <p> In another letter signed by 36 people-almost a petition—the art was called:</p> <quote>...in poor taste, bad character, and a definite infringement on the rights of all women and men who give sex the dignity, respect and honor that was intended for the human race. The Aerospace Corporation has drastically changed its practices since the 1960s to allow this type of "smut" to be exhibited, and the employees were encouraged through desk-to-desk distribution and advertising to view the exhibition.<lb/> We are sure that with much less expense to the Company, the representatives...could have arranged for a display of pornography, pictures and books from one of the adult bookstores in the Los Angeles Area, and at a lower insurance premium...The Aerospace Women's Committee does not speak for all of the female employees, as there are those of us who still adhere to the old principle that we were liberated immediately when we were born in America, we enjoy being treated as a woman and we are definitely Miss or Mrs. and not Ms.<note type="scholarNote">12. Ibid.</note></quote> <p>Clearly these female viewers at Aerospace "saw" in the art their own worst fears of feminism. Their objections though focused on the exhibition, were rooted in their alienation from the organized women's movement. Confronted by art that dealt with an oppression familiar in most of their lives, real images that did not correspond to the illusion of the American dream presented a powerful threat.</p> <p>The art was perceived as offensive precisely because it was not placed in a neutralizing environment like a gallery, where viewers can easily hide behind anonymity. The art invaded their own daily working sphere where it threatened how they were viewed in their professional positions. Brought into the work context, the art reflected more directly upon them. The heightened emotional reactions caused a strong need to disassociate themselves verbally from the picture of womanhood presented in the show.</p> <p>While identification with female experiences and values is threatening in any situation in a patriarchal society, such identification may be virtually impossible when introduced into a work environment dominated by male values and power. Such an environment, by implication, and as a condition for the possibility of working there, demands a woman's identification with patriarchy over a recognition of her own oppression. To admit that what was expressed in the art is real—women's powerlessness and powerfulness their sexual feelings and experiences, and the fact that women are rape victims—is to shatter the very myth that has sustained traditional womanhood all along. It is admitting publicly to an embarrassing, private part of woman's experience which she has attempted to conceal even from herself in an effort to preserve the "human dignity" of which <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_079.jpg"/> she is robbed daily. This response is one we all felt during initial stages of our feminism, when we first became conscious of the shame and self-dislike we had buried for so long, before we were ready to reshape our own feelings by taking pride in ourselves other women, and art that dealt with these subjects.</p> <p>The reactions of the women at Aerospace are not, I suspect, uncommon. I doubt very much that a minority of Black workers in a predominantly white work environment would find it any easier to respond to an exhibition of art exposing painful aspects of the experience of being Black in American society; or that Detroit factory workers for example, readily identify with the realistic presentation in <persName key="Diego Rivera" ref="http://www.wikidata.org/entity/Q171128">Rivera</persName>'s mural of the hardships of factory work.<note type="scholarNote"><persName>Joanne Parent</persName> (one of the authors of "The Fourth World Manifesto") told me the following incident. While she was working in a factory, experiencing first-hand the hardships involved, she understood how well Rivera's mural portrayed those; but when she commented on that to her fellow workers they negated or at least minimized their own experience of oppression compared to its heightened portrayal in the mural. The similarity to women's situation is that workers who (consciously or unconsciously) feel powerless in their jobs deny the pain of their experiences if its expression would jeopardize the only wage-earning option available to them. It is no accident that women all over the country first explored their oppression in the <emph>private, safe,</emph> and supportive context of consciousness-raising groups, removed from the institutions in which they experienced that oppression in their daily lives.</note> There is, however an important difference between the situation of women and other workers. Regardless of their status, women are subject to their oppression as women which crosses class boundaries. In addition to their job or profession—whether factory worker teacher nurse, doctor engineer or scientist—women still do the unpaid, endless, menial labor of housework, bear children and carry the sole responsibility of raising them. All women are potential rape victims, and all women live in a male-dominated society which is based on various cultural versions of enslavement and denies women's culture.<note type="scholarNote">It is for this reason that feminism and feminist art have validity for all women. For the same reason, the Marxist model of workers' oppression does not ultimately address itself to women's oppression, beyond that of working-class women. For an extensive analysis of these issues see "The Fourth World Manifesto," reprinted in: <title><emph>Radical Feminism</emph></title>, <persName key="Anne Koedt" ref="http://www.wikidata.org/entity/Q3617946">Anne Koedt</persName>, <persName key="Levine, Ellen." ref="http://viaf.org/viaf/23040269">Ellen Levine</persName>, <persName key="Rapone, Anita" ref="http://viaf.org/viaf/6208878">Anita Rapone</persName>, eds. (New York, 1973), pp. 322-357.</note></p> <p>Those women who had not attempted to step out of female role-conditioning in their jobs at Aerospace were more oppressed than other workers because they received lower wages and had lower professional status. They were the most offended by the show The middle-class women who rebelled against female role-conditioning in their jobs at Aerospace (the engineers programmers scientists) were the only ones who had developed a feminist consciousness and reacted favorably to the exhibition. For example, in a letter of support, one woman expressed her response to the exhibition and the protesters' views:</p> <quote>That women have suffered personally and professionally from conditions ranging from lack of opportunity to manipulation and even exploitation on the basis that they are women is uncomfortable to face.<lb/> The Art Exhibition, a high quality collection of some very honest and courageous works, was unusually rich in content for those of us who in some way or another have "been there." Although there was a deliberate intent to shock, it was as a means to focus emotionally on the art; it was not propagandistic. These are personal and esthetic interpretations of some of the hard truths encountered by women, and the obscenity lies in the fact that these wrongs arise because of wide-range departure from good human values.<lb/> Those who want to oppose smut should look for it in our politics, in our mores, in the management of our corporations, in our personal relationships.<note type="scholarNote">Orbiter, Vol. 15, No. 20 (1975), p. 2.</note></quote> <p>In her review of the exhibition <persName key="Melinda Wortz" ref="http://www.wikidata.org/entity/Q18207039">Melinda Worz</persName> concluded:</p> <quote>The Female Experience in Art offers a wide panorama of contemporary women's attitudes. It is gratifying to see such a high quality showoutside the established sacred halls of art, as part of a working environment.<note type="scholarNote"><title><emph>Art Week</emph></title>, Vol. 6, No. 29 (Sept. 6, 1975)</note></quote> <p>In thinking now about this exhibition, I realize that it was unrealistic to expect an enthusiastic reception, or even acceptance, for art like this among female viewers who were not already feminists or somewhat sympathetic to feminism. It might have seemed that the work was not perceived for what it was—but on the contrary it was in fact accurately perceived, and found objectionable. Such response is typical when feminism is introduced into a male-dominated culture.</p> <p>For those women at Aerospace who were sympathetic to feminism, the exhibition was a positive experience providing a new awareness of the existence of women's culture created by contemporary feminists. In that sense the exhibition did broaden the audience for contemporary feminist art. For some of these women who previously had no particular interest in art, the exhibition was a beginning of what has since become an ongoing interest and commitment to women's art.</p> <quote>I am still thinking about one piece in the show which I would like to own if I had money. I decided that if I bought art, it would be women's art because of my commitment to feminist artists.<note type="scholarNote">Glenda Madrid, in a recent conversation with the author. Madrid was also a major source of information for the responses to the exhibition and the statistics and position of women employees at Aerospace.</note></quote> <p>Earlier that same summer, my colleagues and in the Feminist Studio Workshop<note type="scholarNote">The Feminist Studio Workshop is the first alternative institution for women in the arts and humanities; it is housed in the unique context of the Woman's Building in Los Angeles. Since it was founded in 1973, over 100 women have received their education at the Feminist Studio Workshop, and several thousand students have participated in the Extension Program at the Woman's Building.</note> had come to a collective definition of feminist art based on our goals, experiences and observation of our students' work. We defined the function of feminist art as raising consciousness inviting dialogue, and transforming culture. It became clear to me that both the individual art exhibited at Aerospace and the exhibition as a whole in fact realized these goals to the extent that was possible in that time and space. </p> </div> </body> <back> <p> <persName key="Iskin, Ruth." ref="http://viaf.org/viaf/7712247/"><persName>Ruth Iskin</persName></persName> is a feminist art historian living in Los Angeles, formerly co-director of Womanspace and the editor of <title><emph>Womanspace Journal</emph></title>. Now she is director of the Woman's Building Galleries, on the faculty of the Feminist Studio Workshop, and an editor of <title><emph>Chrysalis: A New Magazine of Women's Culture.</emph></title> </p> </back> </text> </TEI>
Feminist Abstract Art - A Political Viewpoint Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="null"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader xmlns="http://www.tei-c.org/ns/1.0"> <fileDesc> <titleStmt> <title>Feminist Abstract Art–A Political Viewpoint</title> <author>Harmony Hammond</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>Heresies: Issue 1</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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Redstockings\n\t\t\t\t\t\t\t\t(New York,\n\t\t\t\t\t\t\t1975)." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": 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"https://sparontologies.github.io/cito/current/cito.html#", "org": "http://www.w3.org/ns/org#" }, "id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125", "type": "oa:Annotation", "dcterms:created": "2025-04-30T17:58:31.125Z", "dcterms:modified": "2025-04-30T17:58:31.125Z", "dcterms:creator": { "@id": "27", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Carrie Pirmann" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/hammond_1_0_0_1_0_0_0_0_0_0.xml?note_annotation_20250430135831125#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/div/quote[6]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "Andrea Dworkin, Woman Hating (New York, 1974). " }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb n="66" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_068.jpg"/> <div> <head>Feminist Abstract Art—A Political Viewpoint</head> <byline><persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName> </byline> <div> <p>There are many articles written on feminist art which try to pinpoint and define a feminist sensibility. Few of these articles go beyond the recognition that feminist art is based on the personal experiences of women by beginning to question its larger political implications and the role it plays in feminist revolution. Most articles originating from the art world tend to be formal descriptive attempts at documenting what women are doing, and do not attempt a feminist analysis of function and meaning.</p> <p>In a reactionary escape from formalist criticism, most movement writing on feminist art deals with political issues, but lacks any real understanding of the creative process, how it functions for the artist and how it affects form and content. Without such an understanding it is impossible to evaluate the work as art. While feminist poets and writers comment on each other's work and write of their own processes, we visual artists tend to remain silent and let others do the writing for us. Our silence contributes to a lack of dialogue between artist and audience, to the lack of criticism from a feminist perspective, and ultimately to the misinterpretation of our work.</p> <p>In this article I wish to focus on abstract art and show that it can have a feminist basis and therefore be political. Feminists are not only people to attempt political or revolutionary art, but because certain ideas and issues occur over and over, they are of interest to us and worth exploring. I will focus on one area of abstract art by discussing concepts of marking and language in feminist drawing and painting—to show its origin, meaning, and political potential.</p> <p>In "Prime Time: Art and Politics"<note type="scholarNote">Alexa Freeman and Jackie MacMillan, "Prime Time: Art and Politics," <title key="Quest: A Feminist Quarterly" ref="http://www.wikidata.org/entity/Q105972288">Quest: A Feminist Quarterly</title> (Summer, 1975).</note> <persName key="Freeman, Alexa" ref="http://viaf.org/viaf/284775217/">Alexa Freeman</persName> and <persName>Jackie MacMillan</persName> look at how art is viewed in this capitalist, patriarchal society and criticize activists for reacting too quickly and overlooking the revolutionary potential of art. However, they in turn react to male estabishment myths about abstract (non-representational) art and exclude it from feminist and political potential. They view abstract art as private expression which is not understandable or analyzable to the audience, and therefore irrelevant to feminist political goals. Thus they incorrectly see elitism as a pre-condition of abstract art, rather than realizing that this is how abstract art has been used by men as a defense mechanism against the alienation of their own capitalist system; that as well as furthering the myth of artist as alienated and isolated genius, abstract art has offered an illusion of objectivity. Such notions suggest that the content of one's work can be separated from one's political beliefs. By sponsoring international exhibitions showing apolitical abstract paintings by former Communist Party members, the C.I.A. (via the Museum of Modern Art) has sought to impress other nations with the cultural freedom of the U.S.A. The way in which Abstract Expressionist art was defined and developed by the artists and then used by others to further cold war politics in the fifties is only one example of the manipulation of abstract art to create the illusory separation of art and politics.<note><persName key="Eva Cockcroft" ref="http://www.wikidata.org/entity/Q106308202">Eva Cockcroft</persName>, "Abstract Expressionism, Weapon of the Cold War," <title key="Artforum" ref="http://www.wikidata.org/entity/Q386599">Artforum</title> (June, 1974).</note> Thus when women continue to respond to abstract art as "apolitical," they are reinforcing and maintaining myths established by men.</p> <p>The Freeman/MacMillan article is typical in its analysis of art and politics. Abstract art has become taboo for most artists who consider themselves political feminists. Because of the history outlined above, it is difficult to determine abstract painting's relationship to feminist ideology. There are radical feminists who are making abstract art. Radical feminism operates from the belief that women as a class are oppressed, and that a mass political women's movement is necessary to overthrow male supremacy.<note><persName>Brooke</persName>, "The Retreat to Cultural Feminism," in <title>Feminist Revolution</title>, ed. Redstockings (New York, 1975).</note> Therefore, we might ask, how are the visions of radical feminists analyzed and portrayed in this art?</p> <p>It is necessary to break down the myths and fears surrounding abstract art and make it understandable. Women—artists and non-artists—need to talk about art, and talking about abstract art need not be more difficult than discussing portraits, nudes, vaginas, or whatever. Every work of art is understandable on many different levels. It is by talking about our work and work processes that we will not only begin to develop a new language for interpreting abstract art, but also to integrate this work with society. This language, which I see evolving from consciousness-raising techniques, will be able to be shared with any woman, regardless of class background. For artists, such a dialogue with the audience is essential, as it offers valuable feedback for the development of our art.</p> <p>I want to reclaim abstract art for women and transforrn it on our own terms. It is interesting to note that much of women's past creativity,<pb n="67" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_069.jpg"/> well as the art by women of non-western cultures, has been abstract. I'm thinking of the incredible baskets, pottery, quilts, afghans, lace and needlework women have created. Many of the motifs used were based on "the stitch" itself. The repetition and continuity of the stitch or weaver formed the individual shape and also the pattern resulting from its repetition. Usually these motifs and patterns were abstract and geometric. <persName key="Patricia Mainardi" ref="http://www.wikidata.org/entity/Q26924776">Patricia Mainardi</persName> points out that they had specific meaning for the women who made them, and in a sense formed a visual language in themselves:</p> <quote>In designing their quilts, women not only made beautiful and functional objects, but expressed their own convictions on a wide variety of subjects in a language for the most part comprehensible only to other women. In a sense, this was a secret language among women, for as the story goes, there was more than one man of Tory political persuasion who slept unknowingly under his wife's 'Whig Rose' quilt. Women named quilts for their religious beliefs...or their politics—at a time when women were not allowed to vote. The 'Radical Rose' design, which women made during the Civil War, had a black center for each rose and was an expression of sympathy with the slaves.<note>Patricia Mainardi, "Quilts: The Great American Art," <title key="Feminist Art Journal" ref="http://www.wikidata.org/entity/Q18207079">The Feminist Art Journal</title> (Winter, 1973).</note></quote> <p>As we examine some contemporary abstract art by women, it is important to develop a sense of identity and connection with our own past creativity rather than that of the oppressor who has claimed "fine art" and "abstract art" for himself. In fact, the patriarchal putdown of "decorative" traditional art and "craft" has outright racist, classist, and sexist overtones. <persName key="Elizabeth Weatherford" ref="http://www.wikidata.org/entity/Q106878888">Elizabeth Weatherford</persName> states:</p> <quote>Art history assigns creative products to two categories—fine arts and crafts—and then certifies as legitimate only the fine arts, thereby excluding those creative traditions of primitive people, peasants, women, and many other groups outside the mainstream of Western history.<note>Elizabeth Weatherford, "Craft for Art's Sake," <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351">Ms. Magazine</title> (May, 1973).</note></quote> <p>Until recently, decorative art, or craft techniques and materials, have been valid only as sources for contemporary male artists. While women working with these ideas, techniques, and materials have been ignored (<persName key="Ann Wilson" ref="http://www.wikidata.org/entity/Q64532860">Ann Wilson</persName> first painted on quilts in 1958) or put down for doing "womens work," men like <persName key="Alan Shields" ref="http://www.wikidata.org/entity/Q2636828">Shields</persName>, <persName key="Claes Oldenburg" ref="http://www.wikidata.org/entity/Q156731">Oldenburg</persName>, <persName key="Frank Stella" ref="http://www.wikidata.org/entity/Q375268">Stella</persName>, and <persName key="Kenneth Noland" ref="http://www.wikidata.org/entity/Q527001">Noland</persName> are hailed as innovative. But times have changed. Today many female artists are connecting to a long line of creativity by proudly referring to women's traditional arts in their own work. They are recording the ritual of women's artmaking both in the past and the present, thereby reflecting a feminist concern not only with the end product but with the dally process and function of making art. Sewing techniques and materals as both process and content are used in a variety of ways in the abstract works of <persName key="Sarah Draney" ref="http://www.wikidata.org/entity/Q21289822">Sarah Draney</persName>, <persName key="Pat Lasch" ref="http://www.wikidata.org/entity/Q28553688">Pat Lasch</persName>, <persName key="Nina Yankowitz" ref="http://www.wikidata.org/entity/Q20642044">Nina Yankowitz</persName>, <persName key="Paula Tavins" ref="http://www.wikidata.org/entity/Q114223354">Paula Tavins</persName>, <persName key="Patsy Norvell" ref="http://www.wikidata.org/entity/Q28059096">Patsy Norvell</persName>, <persName key="Rosemary Mayer" ref="http://www.wikidata.org/entity/Q29024964">Rosemary Mayer</persName>, and many other women. <persName key="Barbara Kruger" ref="http://www.wikidata.org/entity/Q262284">Barbara Kruger</persName> says that she first learned to crochet and sew when she decided that these techniques could be used to make art.<note>Ibid.</note> For women, the meaning of sewing and knotting is "connecting"—connecting the parts of one's life, and connecting to other women—creating a sense of community and wholeness. Other women, drawing on women's traditional arts, make specific painterly reference to decoration and craft. <persName key="Miriam Schapiro" ref="http://www.wikidata.org/entity/Q542496">Miriam Schapiro</persName> utilizes remnants of fabric, lace, and ribbon along with handkerchiefs and aprons in large collages, thus making the very material of women's lives the subject of her art. <persName key="Joyce Kozloff" ref="http://www.wikidata.org/entity/Q6297552">Joyce Kozloff</persName> and <persName key="Mary Grigoriadis" ref="http://www.wikidata.org/entity/Q21643944">Mary Gregoriadis</persName> explore decoration as fine art, basing their paintings on the abstract patterning of Islamic architecture and tiles, Tantric art, Caucasian rugs, and Navaho weaving.</p> <p>The way many women <emph>talk</emph> about their work is revealing, in that it often denies formal art rhetoric. Women tend to talk first about their personal associations with the piece, and then about how these are implemented through visual means; in other words, how successful the piece is in its <emph>own</emph> terms. This approach to art and to discussing art has developed from the consciousness-raising experience. It deals primarily with the work itself, what it says and how it says it—rather than with an imposed set of esthetic beliefs.</p> <p>In her excellent catalogue introduction to "Changes," an exhibition by <persName key="Betsy Damon" ref="http://www.wikidata.org/entity/Q43078535">Betsy Damon</persName> and <persName key="Carole Fisher" ref="http://www.wikidata.org/entity/Q89643747">Carole Fisher</persName>, <persName key="Johnson, Kathryn C." ref="https://www.wikidata.org/wiki/Q125304964">Kathryn C. Johnson</persName> comments that "intent" is most important when defining feminist art. She states that it is "a powerful oneness of subject and content" that makes certain work feminist:</p> <quote>...Their work both <emph>is</emph> and tells <emph>about</emph> the pain of their life experiences. It is about pain and is painful, but does not present woman as passive victim. The pain is presented with deep understanding of its sources and effects, and the anger which follows confrontation with the hurt.<note>Kathryn C. Johnson, catalogue introduction to "Changes," exhibition by Betsy Damon and Carole Fisher at the College of St. Catherine (St. Paul, Minn., 1976).</note></quote> <p>Fisher writes:</p> <quote>Betsy looked at the work and recognized the fact that I worked to survive, to keep from growing crazy, and to keep the pain from becoming too great. She recognized the pain in my work instantly! This was something I had only come to recently recognize and acknowledge in my work. Like many women in our culture, I had become adept at hiding and covering my pain. I had gotten all the messages that to be vulnerable in our culture is to be weak and despised.<note type="scholarNote">Ibid</note>.</quote> <pb n="68" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_070.jpg"/> <p>It is this "oneness of subject and content" that carries their work through feminist consciousness beyond the personal to the political. It is also present in abstract paintings that seem superficially more related to the male modernist tradition than to women's creativity in that they involve the physically expressive manipulation of paint on a two-dimensional surface.</p> <p>In much of this work the reoccurring stitch of women's traditional artmaking becomes the repetitive mark, taking on a new form as a "visual diary." Such works are dally records of thoughts and are used as such by the artists. Just as the weaver continues from day to day, from one physical and psychic location to another, materials and dyes changing slighty, irregularities and tension showing, the painted marks also reveal daily emotional changes and tensions. They are a record of present feeling, a ritual giving in to the repetitive gesture, a language to reveal self—a woman's mantra.</p> <p><persName key="Jenny Snider" ref="http://www.wikidata.org/entity/Q62057437">Jenny Snider</persName>'s nervous lines recall ancient Chinese calligraphy, which has both a letter/character reference and a body/figure reference. Her drawings are made with and are about her nervousness and vulnerability. She "is" the mark, the line. As the marks are repeated and contained in different spaces (usually grids or rectangles suggesting fabric, rooms and houses), the quality and feeling of the line changes and she becomes more comfortable in some spaces than in others. She explores her self-image and feelings about her body in relationship to other people and spaces. Snider describes these works as "figurative." To me, it is the mark and its repetition that is most important. Her works are figurative in the sense that Chinese calligraphy is figurative—in having a direct body reference. Works are sometimes combined or used interchangeably with the markings, reinforcing Snider's commitment to the diaristic mode. As she says, "The words and lines come from the same psychological place and gesture and are not intended to describe or explain what the drawings are in terms of images—but rather express the fact that they come from a nervous hand and a yakking heart." Phrases such as "little sounds arose (and it showed)"; "Well, for one thing, never step on broken glass"; and "Remember when we saw the ocean? It was just like this, wasn't it?" tell where the drawing is coming from and what the drawing is about.</p> <p><persName key="Louise Fishman" ref="http://www.wikidata.org/entity/Q6688739">Louise Fishman</persName>'s paintings also function as a place for personal confrontation and as a statement directed towards other women. Earlier, Fishman ripped up her old paintings and reconnected them by sewing and knotting them together with fragile thread. Her past was used to make a statement about her present. The strips and connecting thread formed loose grids, transformed in later work to a series of strokes or marks repeated across the page of canvas or within the confines of a "particular felt shape" (a circle or a piece of irregularly cut masonite). The marks of paint, layered on top of each other, lead eventually to a rich sensuous surface. The top layer usually consists of strong marks holding the partially revealed undermarks to the painting surface—feelings revealed and hidden. Fishman has always talked about her work in terms of hiding, guilt, vulnerability, anger, and personal individuation.</p> <p>In a seven-panel reversible painting on unstretched canvas, Fishman deals with her feelings about her mother, also an artist. One side of each canvas is painted with calm strokes, while on the other side the marks explode into intensely scrawled letters reading "A letter to my mother about painting." Another canvas has the star of David and the words "I am a Jewish working-class dyke" scratched into the surface. Just as consciousness raising leads to political awareness; this work moves from the personal into the political. Titled <title><emph>Angry Jill</emph>, <emph>Angry Djuna</emph>, <emph>Angry Paula</emph>, <emph>Angry Sarah</emph></title>, and so on... they seem to be painted with the anger. When she made these "angry paintings" Fishman said that all she could feel was her rage. When she looked around at other women, she saw that they were crippled by their anger too. These paintings were made to force women to confront it rather than letting it turn inward and become self-destructive. Grouped together as a wall of women's anger, the paintings show a tremendous amount of energy that can now be redirected towards feminist creativity and revolution.</p> <p>These women as well as others (<persName key="Joan Snyder" ref="http://www.wikidata.org/entity/Q6205466">Joan Snyder</persName>, <persName key="Tardi, Carla" ref="https://viaf.org/en/viaf/96205548">Carla Tardi</persName>, and <persName key="Pat Steir" ref="http://www.wikidata.org/entity/Q7144042">Pat Steir</persName>, to name a few) have used words and marks fairly interchangeably as abstract gestures with concrete feminist meanings. Words are marks and marks are words; their repetition becomes not only an interior monologue but also a dialogue with other women. Like Damon and Fisher, these artists make individual feeling and experience the <emph>subject</emph> of their work, while the content deals with the difficulties and ambiguities of being a feminist artist in a patriarchal society.</p> <p>Their painting surfaces are often violated on mutilated; cut, gouged, ripped, scratched, or torn. The reversal of the usual additive process of painting refers to the violation of the traditional painting surface and also to the physical and psychic violation of women. The thick paint applied with a palette knife in Fishman's work, for instance, acts both as poultice for wounds and cement for holding self together. In Joan Snyder's recent work the marks, cuts and burning combine with words and color to make a passionate statement about sexuality.</p> <p>This work is certainly political. Yet Freeman and MacMillan, in their attempt to distinguish protest from political art, to show that specific forms are more conducive to one or another, <pb n="69" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_071.jpg"/> <pb n="70" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_072.jpg"/>still ignore the political potential of abstraction.<note type="scholarNote">Freeman and MacMillan, op. cit.</note> They accept male definitions of what art is, and do not deal with the evolution of a feminist creative process or feminist art forms. Theirs is a reformist approach to a revolutionary endeavor.</p> <p>I am reminded of <persName key="Andrea Dworkin" ref="http://www.wikidata.org/entity/Q241398">Andrea Dworkin</persName>'s "afterword"—"The Great Punctuation Typography Struggle"—in her book <title key="Woman Hating: A Radical Look at Sexuality" ref="http://www.wikidata.org/entity/Q8030692"><emph>Woman Hating</emph></title>, where she explains how the text was altered against her will by the publisher's insistence on uppercase letters and standard punctuation. She had wanted the book to be as empty of convention as possible, to create a new form that would merge with the content.</p> <quote>reading a text which violates standard form forces one to change mental sets in order to read. there is no distance. the new form, which is in some ways unfamiliar, forces one to read differently—not to read about different things, but to read in different ways.</quote> <quote>to permit writers to use forms which violate convention just might permit writers to develop forms which would teach people to think differently: not to think about different things, but to think in different ways. that work is not permitted.<note type="scholarNote">Andrea Dworkin, Woman Hating (New York, 1974). </note> </quote><p>The fact that innovative form is so feared by the male establishment shows that like content it has a power of its own. If our lives and our art are connected, and if "the personal is political" in the radical sense, then we cannot separate the content of our work from the form it takes.</p> <p>As abstract artists, we need to develop new abstract forms for revolutionary art.</p> <p>The women's work I've discussed here, and I include my own, is moving in this direction. We are not yet there. Hopefully, as we create art within the context of other women's art, and within the context of evolving feminist theory, we will develop a new visual language. Art in transition is political, for it both <emph>is </emph>our development and <emph>describes</emph> our development. In a sense we are coming out through our art, and the work itself is a record of the ongoing process of developing a feminist esthetic ideology. </p> </div> </div> </body> <back> <div> <p>Harmony Hammond is an artist living in New York who teaches, gives workshops, and has shown her work here and elsewhere. She has also studied martial arts, Tai Chi Ch'uan and Aikido.</p> </div> </back> </text> </TEI>
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Boxx 766, Canal Street Station</postBox> <settlement>New York</settlement> <region>New York</region> <postCode>10013</postCode> </address> </pubPlace> </imprint> </monogr> </biblStruct> </sourceDesc> </fileDesc> <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#"> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> 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"rdf:value": "TEI/text/body/byline/persName/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q1670154", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <pb cert="high" facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_059.jpg" generatedBy="human" xml:space="default" n="57"/> <head><title>Do You Think</title></head> <byline><persName><persName key="Jayne Cortez" ref="http://www.wikidata.org/entity/Q1670154">Jayne Cortez</persName></persName></byline> <lg> <l>Do you think this is a sad day</l> <l> a sad night</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes</l> </lg> <lg> <l>And my chorizo face a holiday for knives</l> <l> and my arching lips a savannah for cuchifritos</l> <l>and my spit curls a symbol for you</l> <l> to overcharge overbill oversell me</l> <l>these saints these candles</l> <l> these dented cars loud pipes</l> <l>no insurance and no place to park</l> <l> because my last name is Cortez</l> </lg> <lg> <l>Do you think this is a sad night</l> <l> a sad day</l> </lg> <lg> <l>And on this elevator</l> <l> between my rubber shoes</l> <l>in the creme de menthe of my youth</l> <l> the silver tooth of my age</l> <l>the gullah speech of my one trembling tit</l> <l>full of tequila full of el dorado</l> <l> full of banana solitudes you tell me</l> <l>i use more lights more gas</l> <l> more telephones more sequins more feathers</l> <l>more iridescent head-stones</l> <l> you think i accept this pentecostal church</l> <l>in exchange for the lands you stole</l> </lg> <lg> <l>And because my name is Cortez</l> <l> do you think this is a revision</l> <l>of flesh studded with rivets</l> <l> my wardrobe clean</l> <l>the pick in my hair</l> <l> the pomegranate in my hand</l> <l>14th street delancey street 103rd street</l> <l> reservation where i lay my skull</l> <l>the barrio of need</l> <l> the police state in ashes</l> <l>drums full of tequila full of el dorado</l> <l> full of banana solitudes say:</l> <l>Do you really think time speaks english</l> <l> in the mens room</l> </lg> </body> <back> <p>Jayne Cortez was born in Arizona and grew up in the Watts Community of Los Angeles. She is the author of three books of poetry—<title key="Pissstained Stairs and the Monkey Man's Wares" ref="https://www.worldcat.org/title/pissstained-stairs-and-the-monkey-mans-wares/oclc/119044"><emph><title>Pissstained Stairs and the Monkey Man's Wares</title></emph></title> (1969), <emph><title>Festivals and Funerals</title></emph> (1971), <title><emph><title>Scarifications</title></emph></title> (1973), from which this poem is reprinted, and a recording — <title key="Celebrations and Solitudes" ref="https://www.discogs.com/release/1052679-Jayne-Cortez-Celebrations-And-Solitudes"><emph><title>Celebrations and Solitudes</title></emph></title> (Strata East Records, 1975).</p> </back> </text> </TEI>
Juggling Contradictions Document <?xml version="1.0" encoding="UTF-8"?> <?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?> <?xml-stylesheet type="text/css" href="null"?> <TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>Juggling Contradictions: Feminism, the Individual and What's Left</title> <author>Joan Braderman</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title level="a">Juggling Contradictions: Feminism, the Individual and What's Left</title> <author> <surname>Braderman</surname> <forename>Joan</forename> </author> <date when="1977-01">January 1977</date> <textLang xml:lang="eng"/> </analytic> <monogr> <title level="j">Heresies #1: Feminism, Art and Politics</title> <imprint> <publisher ref="https://www.wikidata.org/wiki/Q20857976">The Heresies Collective</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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The nature of these myths—the myths of equality, individualism and democratic liberalism—which underwrite our humanist heritage, account for the weakest elements of feminist ideology. The recognition that feminism is an ideology, like <persName key="Karl Marx" ref="http://www.wikidata.org/entity/Q9061" type="real">Marx</persName>'s recognition that humanism is an ideology (i.e., not a discourse whose "truth" was inseparable from the world it described) is a necessary step in re-examining what feminism is and what it can do. </p> <p> I will use as a conceit the form of "the contradiction"—that underlying, dynamic mechanism of history—in a way that is sometimes more metaphorical than concrete. I take the liberty of using this model rhetorically at times to begin to establish a series of interrelationships between ideologies and their culture. I use it to suggest the many ways the several spheres of interest to <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> readers—art, feminism and their political context—are subject to a set of analogous and mutually reinforcing ideological myths. Most feminists and artists alike are still held captive by the power of these seductive belief systems, although they threaten the coherence of our arguments, threaten our interests and threaten the very survival of the ideal of freedom.</p> <p> A confrontation between the facts and fictions which surround us becomes inevitable within an escalating spiral of contradictions. The first group to experience directly the essential contradictions of the society we live in is, of course, the lowest class: the unemployed, the poorest, least skilled, most exploited working people. Next, the marginal groups, in North America: people of color, immigrants, the elderly, etc. Artists are marginal too. They feel the economic squeeze in recessions, may even become politicized as a result. And across all these groups are women. As groups, then, women and artists have a low priority in the hierarchy of capital.</p> <p> To give up the humanist myths, those most cherished ideals of our own class, the bourgeoisie, which were forged when it was the revolutionary class, is difficult indeed. But give them up we must, for in the face of heightening contradictions–economic, biological, ideological—we have no choice. </p> <p>By 1976, the women's movement seems to have nearly as many political lines as there are women in it. This partly healthy, partly disturbing fact reflects with painful clarity both the strengths and implicit weaknesses of the feminist critique of society. What is feminist practice? What is it to be a feminist in 1976? Is it to be an individual woman "making it" in a man's world? Is it to recognize woman's historical oppression and, released from individual frustration and guilt, to take on collective responsibility? What is the nature of such a responsibility? Is it restricted to oneself? To oneself and the women one sees every week? Is this a responsibility to oneself, to women, to men, to history? In short, is feminism, as an ideology, fundamentally dangerous to the sexism it despises? If so, how?</p> <p> To many women, enmeshed in the growing contradictions of late capitalist society, feminism, by 1976, has proven as much a trap as a liberation. What seemed to so many of us as little as five years ago a potentially revolutionary force now appears to be virtually co-opted. The great capitalist commodity machine has produced a whole new catalogue of cultural commodities: the feminist writer, artist, poet; the feminist academic, professional, journalist, TV persona; the feminist token with that "<emph>feminist</emph> mystique." She is for sale in the cultural marketplace. She is tough, durable, tireless. She is "sexually liberated" (a great lay). She works harder than a man. She has to. She is still a <emph>woman</emph> in a world that calls people "mankind." That is, "equality" for women still equals inequality for women. This is a contradiction.</p> <p> What kind of contradiction? It is a contradiction between the ideology of bourgeois feminism and economic and biological fact. The economic facts of life for the great majority of women remain the same: unpaid domestic labor, ill-paid labor in the work force. Biological fact (which is gender difference along with its cultural baggage) proposes a contradiction, even for those of us who are female tokens of one sort or another, who <emph>are</emph> members of the bourgeoisie.</p> <p> Our psychosexual behavior, like our economic roles, is wholly determined by an inherited system of power relations, not only in the public sector, but at deeper levels, in the formation—within the family—of the psyche itself. Hence, as <persName key="Juliet Mitchell" ref="http://www.wikidata.org/entity/Q453560">Juliet Mitchell</persName> so carefully <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_091.jpg"/> describes, <note type="scholarNote">Mitchell, Juliet, "<title>Women and Equality</title>," in <orgName key="Partisan Review" ref="http://www.wikidata.org/entity/Q1930723">Partisan Review</orgName> (Summer, 1975)</note> it is the <emph>concept of equality</emph> which is invalid within our system. The abstract ideal of equality, she demonstrates, provides the philosophical basis for our laws. Our legal system, at its best, functions <emph>as if</emph> each of its individual constituents were equal. If some people have only their labor to sell, and this labor produces more value than it returns to the laborer, an unequal exchange has taken place. The laborer, then, and the owner of the means to produce that "surplus value" are not equal. If some people are denied, by virtue of their color, access even to the skills of labor, to whom are they equal? If half of all people have babies and half do not, are they all "equal"? Logical incompatabilities arise: what is different is not the same, and gender (among other things) means difference.</p> <p> Radical feminism has tried to take on this contradiction, indeed proclaimed it <emph>the</emph> essential contradiction in our form of social organization. Between biology and destiny, it proposes, stands consciousness. Woman's oppression vertically crosses class lines, crosses race lines; women, armed with "consciousness" would speak to each other across a history of divisions and change the world. Women's groups would not only clarify the areas of shared experience which foster that consciousness, but would serve as support communities. With sisterhood for strength, women would hit male supremacy where it lived: at home. Yet what, after all, has changed? The quality of life for a few privileged women—a small step. Was all that fervor, sisterhood and revolutionary idealism that was meant to reinvent the terms for a mass movement so easily engorged, packaged and recycled?</p> <p> For radical feminism too has been partially co-opted. Since it had already dropped out of the broader (sexist) political arena, it provided support systems for women, but toward an uncertain end. Seeing few alternatives and tantalized by a taste of power women often used that strength to re-enter the dominant culture to become as competitive, as "good" as men. Has the women's movement had so little concrete impact on most women's lives?</p> <p> Certainly the patriarchy was sufficiently threatened to let the feminist token into the limelight. (Why co-opt without advertising the co-opted product?) But she did not make it into the statistics. The economic facts so far as most women are concerned remain unchanged: unpaid domestic labor; ill-paid labor in the work force. The wage differential between men and women in fact is now greater than it was ten years ago. Even the hard-won victory of abortion (<emph>for a price</emph>), even the possibility of "equal rights" before the very laws which uphold a system of inequality, are a slap in the face to an ideology which aimed to alter the very "nature“ of human relationships. This too is a contradiction. </p> <p>What kind of contradiction? It is a contradiction between an ideology and a system; an ideology which has placed its profoundly humanist hope in individual consciousness as somehow separable from the structures in which that consciousness is created. Demystifying the contradictory elements of traditional feminism itself, then, is part of our task. In capitalist society, the process through which human labor is translated into commodity, then capital, is a process necessarily affecting not only the production of tractors and bombs but the production of <emph>ideology</emph>. This process puts intellectual labor, like esthetic labor, like factory labor, like reproductive labor, in the service of a system which generates a surplus of wealth for the few and subsistence for the many. This contradiction—between the forces of production (labor) and the property relations of production (ownership) is <emph>the</emph> contradiction which Marxists claim moves history, because it produces class struggle: the power of masses of people to labor becomes the power to revolt.</p> <p> This contradiction <emph>has</emph> moved history. But, feminists ask, has it altered the basic relation between woman and man, woman and childrearing, woman and psychosexual slavery? For the hypocrisy of bourgeois ideology in relation to bourgeois practice is paradigmatic within the structure of the family. Marriage, ostensibly a contractual agreement between consenting equals, is in fact a property relation between an owner and an exploited, isolated and powerless worker.</p> <p> It is the belief in the illusion that such social contracts can be fulfilled that has hung feminists on the horns of contradiction. Feminism was born in the 17th century along with the concept of equality of individuals. It was, as <persName key="Sheila Rowbotham" ref="http://www.wikidata.org/entity/Q432851">Sheila Rowbotham</persName> has documented, <note type="scholarNote">Rowbotham, Sheila, <title key="Rowbotham, Sheila. | Women, resistance and revolution" ref="http://viaf.org/viaf/7667153954881305680001/">Women, Resistance and Revolution</title>, Vintage Books (New York, 1974).</note> heated in the cauldron of bourgeois revolution and simmered in the idealism of 19th-century Utopianism à la <persName key="Charles Fourier" ref="http://www.wikidata.org/entity/Q181707" cert="high" type="real">Fourier</persName>, who claimed that "the change in historical epoch can always be determined by the progress of women toward freedom." <note type="scholarNote">Ibid., p. 51</note></p> <p>Bourgeois feminism has begun, then, in its history of leaps and starts, to identify and attack its sexist enemy, and taken a few long strides away from female feudalism for the benefit of some bourgeois women. But the heart of the problem remains. Feminists from <persName key="Tennessee Claflin" ref="http://www.wikidata.org/entity/Q7700030">Tennessee Claflin</persName> to <persName key="Isadora Duncan" ref="http://www.wikidata.org/entity/Q483512" cert="high" type="real">Isadora Duncan</persName> have scored high in locating it. "At the ballot box is not where the shoe pinches...It is at home where the husband is the supreme ruler that the little difficulty arises; he will not surrender this absolute power unless he is compelled," wrote Claflin in 1871. <note type="scholarNote"><persName key="Schneir, Miriam" ref="http://viaf.org/viaf/114917240/">Schneir, Miriam</persName>, ed., <title key="Feminism: The Essential Historical Writings" ref="http://www.wikidata.org/entity/Q104874805">Feminism: The Essential Historical Writings</title>, Vintage Books (New York, 1972), p. xviii.</note> Duncan, in her 1927 autobiography said, "Any intelligent woman who reads the marriage contract and then goes into it, deserves all the consequences." <note type="scholarNote">Ibid., p. XV.</note> Here is the confounding point. Monogamy asserts a situation in which one individual "owns" another. It is not ownership <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_092.jpg"/> <emph>per se</emph> that is in question now, but again, the mystification of what the individual is and can control. In participating in the compromised "equality" of marriage, each individual agrees to propagate the species in the context of the values of patriarchy. Values are learned, sexuality is formed, ideology is maintained—within the family.</p> <p>When feminists claim that "the personal is political" they refer, in a sense, to this problem. Their hypothesis is that one can generalize from the individual, internal dynamics of sexist oppression, to a general rule. <persName key="Sigmund Freud" ref="http://www.wikidata.org/entity/Q9215" type="real">Freud</persName>'s revelation of the structures of the unconscious confirms to an extent the validity of that enterprise. But up to now feminists have not taken it far enough. Having accepted the existence of subconscious structural analogues which mirror the differences between the sexes in the world, we can now proceed with the knowledge that, as a group, we are bound not only by the manifest political forms of our oppression but by these internal psychic monsters. In attempting to combat these monsters, however, feminists have often mistaken the cart for the horse. The personal is political—but with few exceptions, this invocation has simply generated a longer list of symptoms of the sexist disease. We must locate the causes of this disease if we are ever to cure it. We must exploit Freud's science of the mind, but only insofar as it is conjoined with the science of history; that is to say out of the context of individualism.</p> <p> Sisterhood is really powerful only insofar as it is armed with a coherent theory and a mass strategy. We are in and of our culture; so is the feminist ideal. We must pursue, with maximum scientific rigor, the vanguard theories of culture which culture has produced. We must use the best available tools to locate the incoherence—the contradictions—in extant phallocentric models and generate predictive models based in the experience of both halves of the human race. Feminists who wish to throw Freud out the window because of simplistic readings of "penis envy" current in popular psychology might well take a look at Mitchell's <title><emph>Feminism and Psychoanalysis</emph></title> for a re-examination of the usefulness of psychoanalysis to feminist analysis. Her effort there is exemplary. We cannot just look back nostalgically to ancient matriarchies. Indeed, fantasies about matriarchy in our era are pure science fiction. But their existence does suggest that alternate models for culture <emph>can</emph> exist.</p> <p> Recent controversy over Mitchell's book, among feminists and male psychoanalytic theorists here and abroad, suggests the "hotness" of this issue. Interestingly, this relation of sexuality to political economy is also being strongly developed outside a feminist context, most prominently on a major intellectual front—in the tradition of French structuralism. European feminists, especially in England and France, have thus been drawn to that tradition as heightened contradictions impel them to seek out means for their resolution. The main tendency in this area is necessarily phallocentric: it is still being written largely through the cipher of a male experience of the world. But if we as women don’t begin to write ourselves into history, who will? For so far, compared to the scope of the theoretical, strategic and practical task ahead, the "woman question" has really only been given lip service by the most advanced intellectual sciences —not surprising since they are "man-made."</p> <p> <persName key="Friedrich Engels" ref="http://www.wikidata.org/entity/Q34787">Engels</persName>, Marx and others have, of course, identified the monogamous, patriarchal family as the central prison for woman. Mechanistic Marxists therefore claim that releasing her from this singular prison into the work force (under socialism) must guarantee her freedom. Does it? Has it?</p> <p> Not significantly; not yet. The major 20th-century socialist revolutions have made some progress, removing, as in China, the most barbaric manifestations of sexist domination. Immediately following the Soviet revolution, <persName key="Vladimir Lenin" ref="http://www.wikidata.org/entity/Q1394" type="real">Lenin</persName>'s program included not only the training of women to join the work force at all levels, but the legalization of abortion, free, accessible divorce, communal daycare, etc. Within ten years, however, Stalinist backlash hit these family issues hardest; much harder, predictably, than the building of an extra-domestic women's work force. In China, with the Cultural Revolution and before, ideological struggle against the values of patriarchy has at least begun. But in the U.S.S.R., in the context of their drive to quickly meet economic priorites which created the bastard known as "state capitalism," it was easier to fall back on the ingrained behaviors of the traditional family unit for free work by women in the home.</p> <p> The American Communist Party reflects this tendency, still defending the "fighting family unit" as a revolutionary force—in America, a reactionary notion. In fact, mothers have been strong revolutionaries. The strength of the women of Vietnam in the long battle to defeat American imperialism is a case in point. But, as in Algeria, where fighting European imperialism also meant the reassertion of the heavily patriarchal values of Arab and Islamic culture, women's fate has most often been: off the battlefield and back to the kitchen. The contradictions of the double standard apparently are so heightened during periods of revolution that, as with Bolsheviks like <persName key="Alexandra Kollontai" ref="http://www.wikidata.org/entity/Q179558">Alexandra Kollontai</persName>, the preaching and practice of "free love" (and all it implies) becomes acceptable —for a brief time. Despite Lenin's great sympathy and work for women, his Victorianism won out in the area of sex. Even the Soviet woman engineer comes home to work that is still hers, and still never <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_093.jpg"/> done.</p> <p> In the U.S., too, anti-feminist backlash, somewhat reminiscent of the Stalinist attack on women's freedom, splits American feminism down its uncertain center. Though reformists suggest that there is room in a liberal America to heal the wounds of women, liberalism is particularly dangerous since it cleverly masks its own conservatism, its own investment in the status quo. Liberal ideology neatly instantiates the two-part form of the contradiction. "Its progressive side provides a rationale for defending the rights of individuals against the state. Its reactionary side emphasized that capitalism is not a system where one class exploits another but is rather a collection of individuals, any one of whom can succeed if he or she so decides."<note type="scholarNote"><persName key="Guettel, Charnie." ref="http://viaf.org/viaf/1981898/" type="real">Guettel, Charnie</persName>, <title><title>Marxism and Feminism</title></title>, Women's Educational Press (Ontario, Canada, 1974), p. 2.</note></p> <p> I hope it is becoming clear how ideologically messy liberalism really is from a post-humanist perspective in which the individual can no longer be seen as the subject of history. Liberalism is seen by leftists as a joke because it bears so tenuously the wan hopes of a bankrupt humanism and is ultimately, untenable. Even hardcore conservatism is more internally coherent. Conservatives and Marxists alike might describe capitalism as a system in which the "stronger" individuals make out. The difference, of course, is that conservatives say so approvingly, grounding their argument in the old dog-eat-dog theory of what they call human nature. Marxists have favored the idea that the industrial capitalist system tends to pervert or alienate what is potentially, or at a given historical moment "good" in human beings. Stated so simply, both are inadequate readings but at least they rehearse the consistency of these positions.</p> <p> The liberal wants to enjoy the fruits of his class privilege while salving his guilty conscience with a quasi-philosophic posture proposing that every individual (being protected by 'equality' before the law, by 'equal' opportunity measures, etc.) could theoretically be enjoying this same privilege if he or she were as hard-working and dauntless as him/herself. Thus the liberal buys off with a little charity or minimal social welfare all those who, by some extreme individual misfortune, can’t quite cut it.</p> <p>Here we return to the underbelly of co-optation. While a bill assuring equal rights before unequal laws is flung in our faces, and even defeated (adding insult to injury), the dominant media simultaneously declare the women's movement to be "over" or somehow "won" because of the presence of one and a half news anchor-women on TV or the financial viability of <title key="Ms." ref="http://www.wikidata.org/entity/Q3656351"><emph>Ms. Magazine</emph></title>. Capitalist propaganda demonstrates before our eyes that by inference, if one woman can do work that one man can do, women are the achieved "equals" of men. The responsibility for change is thus cleverly switched back onto the shoulders of <emph>individual</emph> women; to change the world, all you really must do is change yourself. And the mapping of contradictions comes full circle.</p> <p> The liberal feminist, like the liberal social democrat, learns to sate herself on the token goodies she is tendered. Or the radical feminist (who, lacking a viable mass strategy, is a liberal in disguise) tries to build a separatist island on which she and her sisters can be "free." It's a dilemma. I was, and in some ways still am, such a radical feminist. After all, I am a member of the women's group which publishes this magazine. We try to experiment with anti-oligarchic forms, collective practice. But what is an egalitarian island in a sea of capitalist contradictions but something doomed, as it were, to sinking?</p> <p> Witness a little linguistic contradiction and the issues it raises for us in <emph>Heresies</emph>. We are constituted as a collective. Adopting one of the stronger aspects of feminist practice, we attempt to chip away at the hierarchical authority structures of The System on a micro level by attempting to produce a theoretical magazine on a collective basis. The assumption here is that theory and practice must develop together in a dialectical relationship. But in order to function as a legal entity, we are transformed to Heresies Collective, Inc.; an incorporated collective. This is either redundant or ironic. The fact is, we don't even aspire to making profits but are completely dependent on the legal and business structures around us. This dependence relation, the impossibility of autonomy within a given economic structure, has meant about a two-year life-span for most American collectives before us, according to popular lore. </p><p>This dependence also means that artists, particularly those artists being forced by heightened economic contradictions to face political realities, must re-examine their place in our culture. The feminist filmmaker for example, has had to confront this issue head on. Film, more than any other artform, requires the mastery of machine technology. For women, that technology and the authority it connotes has been historically taboo. There are exceptions in the history of film but the percentage of women filmmakers is dramatically low for a 20th-century art. Feminists with the energy and support of their sisters in the movement have begun to break that taboo. But in doing so, they have been thrown against a major contradiction facing all "independent" filmmakers: the problem of capital. For to make films requires large amounts of capital, capital which is controlled by the ruling classes, middle-class liberals included.</p> <p> Advocates of independent filmmaking from <persName key="Maya Deren" ref="http://www.wikidata.org/entity/Q450382">Maya Deren</persName> in the 1940s (implicitly) to <persName key="Annette Michelson" ref="http://www.wikidata.org/entity/Q21176228" type="real">Annette Michelson</persName> in the 1960s (explicitly in her article "<title>Film and the Radical Aspiration</title>") <note type="scholarNote"><orgName>In <title key="Sitney, P. Adams. | Film culture reader" ref="http://viaf.org/viaf/6125154387351330970000/">Film Culture Reader</title></orgName>, ed., <persName key="P. Adams Sitney" ref="http://www.wikidata.org/entity/Q7117121">P. Adams Sitney</persName>, Praeger (New York, 1970).</note> have proposed that a stance outside of the commercial market is itself a "political" gesture. It is—to the <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_094.jpg"/><pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_095.jpg"/> extent that money can be garnered from liberals to make "art" as long as it is not fundamentally dangerous. But can any political art which attempts to attack the assumptions of The System <emph>from within</emph> patriarchal capitalism actually threaten it? This has been and will be an area of debate for many political estheticians and artists and can hardly be answered here.</p> <p> But we can and must confront the question. From what is the "independent" filmmaker or artist independent? She is not independent from the need to make a living. She is not independent from the need for capital—money which gives the power to make her films and distribute her films within a tight commercial media monopoly. When a feminist wonders why capitalists won’t hand over the money to make antisexist films, she, like her "independent" male counterpart, must face the terms of her dependence. She has begun to beg, borrow or steal (translated as win grants, go into debt, etc.) the capital to write herself into visual history, making films about the experience of women; viz: the films of <persName key="Julia Reichert" ref="http://www.wikidata.org/entity/Q1711898" type="real">Julia Reichert</persName>, <persName key="Yvonne Rainer" ref="http://www.wikidata.org/entity/Q452238">Yvonne Rainer</persName>, <persName key="Barbara Kopple" ref="http://www.wikidata.org/entity/Q449349" type="real">Barbara Kopple</persName>, <persName key="Chantal Akerman" ref="http://www.wikidata.org/entity/Q239823">Chantal Ackerman</persName>, and many others. But who actually sees these films? They are shown in women's festivals, in avant-garde and political forums in a few major cities. She is, in short, caught in that same economic trap. Cooperatives for pooling resources and sharing distribution efforts, such as New Day Films, are beginning to form; they are collectives like <emph>Heresies</emph>. But the absolute dependence on the inconsistent, discrimate charity of liberals is the underside of that ultimately romantic hope for "independence." The terms for independence, then, among artists and feminists, are the very terms of dependence. Yet another contradiction.</p> <p> I would like to convince all feminists that it is time to realign with the Left. Current economic realities, heightening contradictions, and the topography of world imperialism reaching its limits, are forcing many groups in America to confront their need for unity. The traditionally sectarian American Left itself is beginning to move toward coalition and alliance, toward unity across color lines, across race lines, across class lines <emph>and</emph> across gender lines. Within such a potential configuration women could speak to other women. We are beginning to recognize that all oppressed peoples within capitalism must come together if we are even to begin to be able to defend ourselves against the attacks and backlash of this system, much less to build a new one.</p> <p> Several feminist strategies for such a realignment of women with the broader struggle for freedom are presented in this issue of Heresies (see "Toward Socialist-Feminism" and "Wages for Housework"). This does not mean that women will not have to continue to force the priority of their own demands in relation to the needs of others. Women will need autonomy to develop theory and strategy accountable to our own needs within a broad movement, to avoid the failures of socialist experiments in the past. Thus, we must make our fight in the context of a movement we help to define and build, a movement that can take on the class contradiction as well as the racial and sexual contradictions implicit in the structures of the larger society. For, on these structures, the fate of all women, like it or not, is inextricably dependent. To wed feminism to the myths and false hopes of liberal idealism is to contribute to the systematic liquidation of its potential power.</p></div> </div> </body> <back> <div><p>Joan Braderman is completing her doctorate in film and political theory at N.Y.U., writes theory and criticism and makes 16mm films. She teaches film at The School of Visual Arts in New York City, is a political activist and likes to sing. </p></div> </back> </text> </TEI>
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"dcterms:creator": { "@id": "27", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Carrie Pirmann" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/from_the_collective_0_0_0_1_0_0_0.xml?person_annotation_20250430122235158#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/from_the_collective_0_0_0_1_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/from_the_collective_0_0_0_1_0_0_0.xml?person_annotation_20250430122235158#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div/p[6]/persName" } }, "oa:hasBody": { "@type": "cwrc:NaturalPerson", "@id": "http://www.wikidata.org/entity/Q5085869", "dc:format": "text/plain" }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> </rdf:RDF></xenoData></teiHeader> <text> <body> <div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_004.jpg"/> <head>From the First-Issue Collective</head> <epigraph> <p>The editorial collective of this first issue of <title key="Heresies: A Feminist Publication on Art and Politics" ref="http://www.wikidata.org/entity/Q17022558"><emph>Heresies</emph></title> shares not a political line but a commitment to the development of coherent feminist theory in the context of practical work. The time for reformulating old positions or merely attacking sexism is past. Now we must take on the most problematic aspects of feminist theory, esthetic theory and political theory. We are not only analyzing our own oppression in order to put an end to it, but also exploring concrete ways of transforming society into one that is socially just and culturally free.</p> <p>The role of the arts and the artist in the political process is our specific arena. By confronting the very real differences in our own attitudes towards art and politics, which reflect those in the wider, feminist community, we have uncovered networks connecting a broad range of forms and ideologies. As material for the first issue came in to us, we found that no hard line could be drawn between texts and visual material. There are, therefore, few "illustrations" here, but independent statements expressed visually, verbally, or in combination, sharing the same power and the same intent, and indicating that word and image can be equal ingredients in politically effective art.</p> <p>We found no solutions to the issues raised, but we are finding approaches that feel fresher and more satisfying. Working together toward collective decisions was entirely different from working alone or as part of conventional hierarchies. Each of us worked on every page of this magazine, a slow and frustrating process, but one from which we learned a great deal about each other, about editorial and mechanical skills, about the collective process itself, about our subject—feminism, art and politics— and about what it means to be political in a real, active, living situation. We mean to go on from these beginnings and we look to the larger feminist community for participation, response and criticism. Together we can work toward some answers. We have nothing to lose but our illusions.</p> </epigraph> <byline><persName key="Joan Braderman" ref="http://www.wikidata.org/entity/Q28911659">Joan Braderman</persName>, <persName key="Harmony Hammond" ref="http://www.wikidata.org/entity/Q5659529">Harmony Hammond</persName>, <persName key="Elizabeth Hess" ref="http://www.wikidata.org/entity/Q106878848">Elizabeth Hess</persName>, <persName key="Arlene Ladden" ref="http://www.wikidata.org/entity/Q106878856">Arlene Ladden</persName>, <persName key="Lucy R. Lippard" ref="http://www.wikidata.org/entity/Q137115">Lucy Lippard</persName>, <persName key="May Stevens" ref="http://www.wikidata.org/entity/Q6796587">May Stevens</persName>.</byline> <p> Feminism—Art—Politics. What is their connection? In theory? In reality?</p> <p>Once there was a women's art center that was very excited about an "Art as Work" seminar I proposed. They wanted a short personal resumé to follow the course description in the catalogue — to let students know who I was, where I was coming from: Harmony Hammond is a lesbian feminist artist who has exhibited at Gallery X and Gallery Z and taught at R. University and C. University. They wanted my labels and then did not like them. No seminar. Really, I was coming on too strong. Couldn't I use a different word? Or just not say it at all? Would I be teaching art or politics? They were an "Art" center. They were afraid, they said, afraid I would jeopardize...</p> <p>Jeopardize what? Their art? Their teaching? Their students? Their bodies? Their minds? Their sexuality? Their politics? Their power? Their authority? Their thinking? They did not know, they were just afraid...</p> <p>I did not fit their concept of a feminist and therefore I was dangerous.</p> <p>Labels. The meaninglessness of labels. The power of labels. The confining. What does it mean to be a lesbian, radical feminist, activist, mother, artist? I am all of these individually and combined. It means I am political. It means I want to change existing power relationships. A list of experiences. The power of labels is the power of ideas and action combined.</p> <p>The political mother, the political artist, the political feminist, and the political lesbian refuse to be second-class. They take action by ''doing.'' They refuse to be isolated into separatist stances, and they become a total whole. They add up to what <persName key="Charlotte Bunch" ref="http://www.wikidata.org/entity/Q5085869">Charlotte Bunch</persName> has called a ''non-aligned feminism"—not automatically attached to one line of feminism (socialist/left vs. reformist vs. cultural/spiritual) but rather evaluating each individual issue and situation from an independent feminist perspective.</p> <p>Lesbian. Radical feminist. Activist. Mother. Artist.</p> <p>The common denominator is woman. Women are oppressed as a class. This oppression underlies the patriarchal institutions of capitalism, imperialism, racism, and heterosexism. To end all forms of oppression we must first end the oppression of all women regardless ot sexuality or economic class, racial or cultural background.</p> <p>Lesbian. Radical feminist. Activist. Mother. Artist.</p> <p>Together they form my feminism. Feminism is my politics. My art both is formed by and is a statement of my feminism.</p> <signed>H.H.</signed> </div> <div> <p> While l'd always worked in social programs, I never considered myself a political person. Political groups so often revealed confused priorities that I inevitably ended up by questioning my own. But feminism was different–so much was personally at stake. If I questioned my commitment (how can I be amused by this or not outraged by that), I soon found I was not amused and I was outraged by things I might once have considered innocuous or simply unalterable. Feminism had become a persistent way of living and thinking and the most important awareness of my life.</p> <p>Today I trust the impulses calling out for radical change because they're rooted in a lifetime of self-analysis continuously and consistently validated by other women. Frustration, it seems, is being resolved in conviction and action and the awareness of this power has been startling to me. Needless to say, art which strengthens that awareness is exhilarating.</p> <p>I am a medievalist, I was attracted to the field by the escapist fantasies of folklore and romance. But I now feel that all art—whether ancient or modern—can be seen and judged within a feminist context.</p> <p/> <signed>A.L.</signed> </div> <div> <p> When pressed by the people who ask "What do you do?" at times I call myself an artist and then no one knows what to expect. The term is so vague and useless that it does not begin to identify a point of view. The fact that art work keeps the bourgeoisie in style, and the bourgeoisie keeps all the art, suggests that most artists don't bother with politics and ideology, instead they are united by a lifestyle: generally you must privatize your work, hang your head to the left late at night in the bars, and think deeply about how your work will be understood in the melancholic future; be concerned about your isolation from the community.</p> <p>It is difficult not to become a cynic. Opportunism knocks. Even the women's movement is another stepping stone towards critical recognition. Most people are more concerned with the objects we are producing than the world into which we place our work. I make abstract paintings and super-8 films—but not for a living. I work as an editor for a left news magazine called <title key="Seven Days" ref="http://www.wikidata.org/entity/Q27717194"><emph>Seven Days</emph></title>. This is where I learned the business of developing an audience and disseminating information. <emph>Heresies</emph> is an attempt to politicize the art world; a chance to attack the history of our work as opposed to "documenting" it.</p> <p>I have been a feminist it seems ever since I noticed I was living with great difficulty; it came out during the 1960s—but that's a long story. In the 1970s, feminism has tendencies which serve merely to push liberal institutions to their farthest extremes. This has left many women caught in a dubious struggle; a recognition of strength and an inability to act. The feminist movement should not work towards gaining economic power, but towards developing a coherent ideology if we are to participate in change and work towards socialism. (You knew I'd say that.) The point is that an understanding of feminism without an analysis of class is like a long-tailed cat in a room full of rocking chairs. Capitalism is so efficient that it can sustain its own alternatives; likewise the art world—one more radical magazine.</p> <signed>E.H.</signed> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue01/images/01_005.jpg"/> <div> <p> I am a feminist first and a socialist second, rather than a Socialist-Feminist. Not because I don't care about what happens to the oppressed men in the world. Not because I'm against an ideally democratic socialism. But because women's oppression crosses economic-class lines. It's a matter of focus. Clearly the needs of welfare-class women are most urgent and those of upper-class women are least urgent. Some socialists say that getting rid of patriarchy won't change the world. I wonder. Even in revolutionary socialist movements women must maintain an autonomous base. Revolution for Every<emph>man</emph> isn't the same as real social change; it has taken place in the past without solving the "woman question."</p> <p>In the meantime, living in a capitalist country without a strong Socialist Party provokes an irresistible urge to kill time as a liberal feminist. Even though I'm aware of the dangers of opportunism, reformism, co-optation, and all the slimy horde, I often find myself working for reform rather than revolution because I can't bear to see nothing done.</p> <p>Within the art world, this means I work to get women artists into a system I oppose. Outside, in the real world, this means I want the ERA passed because its going to make a difference in women's lives. I want to see a politically aware feminist culture and I hope that <emph>Heresies</emph> will help create it and help destroy some of the boundaries that separate women from the power to make a better society that will fit our needs as well as men's.</p> <p>(P.S. Because I'm a critic, I've been called a "class enemy" of artists, which is bullshit. I'm exploited by publishers, and perhaps editors, just as artists are exploited by galleries, and perhaps critics. I identify with artists whether or not they identify with me because long experience has shown me that our lives are more or less the same.)</p> <signed>L.R.L.</signed> <signed/> </div> <div> <p> When we decided that each of us in the first issue collective should write an individual statement to put our political differences ''out front,'' I thought it was a fine idea. But trying to write one page about my notion of how feminism relates to Marxism relates to making theory and making films was easier said than done: too much to argue in too little space. So what I wanted to do was write, "please see my article on page x'' where I’ve tried to work out some of these problems in more analytical depth. But my sister-editors said, ''write something personal." They chided me for my rhetorical style and my obsessive? academic? commitment to making ''complete'' arguments. "Who are you in all that," they asked. O.K. I'm a woman, I'm white, I'm 28. I'm a film teacher, I'm a student, I'm a writer, theorist, critic, filmmaker. I do political work—in the feminist community and with a new Coalition (July 4th) thats building toward a mass, progressive peoples' movement in this country. I guess I'm what's come to be called a cultural worker.</p> <p>Often it seems there's just not enough time in each day to do all the things that have to be done. And to earn a living, and write a dissertation, and see the art I care about, and do the laundry, and talk with students, and be with the friends I love, and see the ocean sometimes. Putting it all together, I'd often like a few clones of myself to help out. I juggle what's possible with what's not.</p> <p>Where does the fight for women fit with fighting imperialism? Does working in collectives really help change our deeply entrenched American individualism? How can ''cultural workers'' best advance these struggles? I often argue esthetics with my political comrades. Films, I say, don't have to be simplistic to communicate with mass audiences. We're all subject to subtle propaganda from Hollywood and Madison Avenue. We're all jugglers of contradictions and need to see and hear and read about alternatives to what is. We have to make films that not only say something different but say it <emph>in a different way</emph>. They have to be made in a practical political context, in a coherent theoretical context, and they have to be able to recapture the imaginations of masses of people being lulled to sleep by the crap that's sold as ''mass art." We have to find strategies for making our alternate points of view visible, making peoples' voices heard, our ideas and films seen; find ways of fighting the commercial monopolies that own the air waves, the movie screens, the mass media, that own <emph>us.</emph></p> <p>I argue politics with my feminist sisters. No more separatism, I say. I work on HERESIES to say that and also because—another contradiction—l need community in a country that is in fragments. In short, and as labor people like my grandparents always said: women, artists, men, people; we've got to get organized.</p> <signed>J.B.</signed> </div> <div> <p> What kind of socialist-feminist-artist am I?</p> <p>What kind of socialist artist loves <persName key="Jean-Baptiste Camille Corot" ref="http://www.wikidata.org/entity/Q148475">Corot</persName> as well as <persName key="Gustave Courbet" ref="http://www.wikidata.org/entity/Q34618">Courbet</persName> and forgives oil painting its bourgeois origins and abstract expressionism its heraldry of U.S. imperialism?</p> <p>What kind of feminist artist sees pink as a private color to be sparingly used?</p> <p>To the women's movement I would like to bring, as to art, the subtlest perceptions. To political action, I would like to bring, as to art, a precise and delicate imagination. The personal is the political only if you make it so. The connections have to be drawn. Feminism without socialism can create only utopian pockets. And the lifespan of a collective is approximately two years.</p> <p>Socialism without feminism is still patriarchy. But more smug. Try to imagine a classless society run by men. </p> <p>Trying to be part of a collective is a little like being a chameleon set on plaid. I may split apart before I get the pattern right. But somehow it seems worth the pain because I believe community is the highest goal.</p> <p>I believe every woman's life is a little better because of what we are doing.</p> <signed>M.S.</signed> </div> </body> </text> </TEI>
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<pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_031.jpg" n="31" xml:id="img_0031"/> <head><title>Political Fabrications: Women’s Textiles in 5 Cultures</title></head> <byline> <persName type="real">Jean Feinberg</persName>, <persName>Lenore Goldberg,</persName> <persName>Julie Gross,</persName> <persName>Bella Lieberman,</persName> <persName>Elizabeth Sacre</persName> </byline> <p> We have been meeting collectively for many months, exploring the political dimensions of women’s traditional artmaking. Our focus was on textiles and the women who made them from five cultures – <orgName key="Navajo" ref="http://www.wikidata.org/entity/Q108266">Navajo</orgName>, <orgName key="Chilkat" ref="http://www.wikidata.org/entity/Q12628963">Northwest Coast Chilkat Indian</orgName>, <placeName key="New Zealand" ref="http://www.wikidata.org/entity/Q664">New Zealand</placeName> <orgName key="Māori" ref="http://www.wikidata.org/entity/Q6122670">Maori</orgName>, pre-conquest <placeName key="Peru" ref="http://www.wikidata.org/entity/Q419">Peruvian,</placeName> and Western European. We wanted to clarify relationships between the social/political position of women and the status of their textile-making in these societies.</p> <p> Our notion of collectivity began vaguely and was gradually clarified. We wanted to tolerate tensions and individual voices. Even though each of us has contributed individually to this effort, what we wrote was the outcome of collective debate. This form has had everything to do with our content. Women’s history has been characterized by the systematic denial of access to analytic modes of exploring situations. We joined a long tradition of women who worked together offering each other support and intimacy. What we intensified was a critical and intellectual dimension which became, in time, indistinguishable from the emotional dimension.</p> <p>The first part of this piece describes our filters—our articulation of the political dimensions of art and aesthetics and our reasons for exploring women's traditional arts. Our individual explications of women and textiles in five cultures follow. We conclude with several theoretical speculations prompted by our research and our collective process.</p> </div> <div> <head>Toward a definition of the politics of art and aesthetics</head> <p>Women’s traditional art has been defined as craft or "low" art. This ascribed status of women’s art is political. To understand why women's art has been considered in this way is a vital political act.</p> <p>Aesthetics, theory-making about art, has been given to us as though it were value-free, objective, and not grounded in a particular historical moment. According to us, art and art theories are mediated by those groups who dominate the social sphere and have greater access to power. In general, when Western theorists have reported on traditional societies, their cultural and sexist biases have interfered. Thus, in order to understand what traditional art is, we are forced to state what it is not. It is not the work of a formative period of culture, not a late or stagnant phase of development, not the work of children, naives, or mentally ill people. It is not technologically crude or inept. Traditional arts have been considered all of these.</p> <p>The Western notion of "primitivism" should not be confused with the artistic expression of fully developed cultures of the pretechnological world. Within these cultures, although women’s art is skillfully made and present in all aspects of life, it has largely been ignored by Western theorists. Its artistic qualities have not been recognized and its possible meanings have not been explored.</p> <p>Through our research, we discovered another bias to be explored. Males within traditional cultures have, because of their political and social power, tended to define what is valuable in art. By becoming aware of how biases shape the formulation of aesthetic theories, we can reveal the political nature of aesthetics.</p> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_032.jpg" n="32" xml:id="img_0032"/> <div> <head>Personal sources for our exploration</head> <p>My interest in women's traditional arts originated in a need to connect personally and historically with women who had the desire to enrich utilitarian objects. Although relegated to forms of expression bounded by their homes and bodies, women engendered works informed by an analytic and intuitive but not a High Art sensibility. I wanted to understand why the creative expression of women was usually channeled into crafts. Because I felt so connected to these works of art, I questioned that designation altogether. In particular, I wanted to look behind the ephemeral appearance of lace to see what answers and paradoxes would be there. <persName>B.L. <note type="annotation">Bella Lieberman</note></persName></p> <p> Because I am still struggling with the myth of male superiority in art, I was instinctively drawn to a women’s art form which embodied a sensual, visual beauty. My incentive to investigate these textiles was generated by the barrenness which characterizes the dehumanized products of modern technology. I questioned the place assigned to these domestic, utilitarian objects by male-politicized aesthetics. If I could not find validation, I sought at least more factual information regarding their origins and the context in which they were made and seen. I came to feel it was necessary to find female antecedents in art and that the lack of a woman’s history cuts us off from our own dreams and aspirations. Without a knowledge of our own history, whether in this culture or others, we are limited in the extent to which we may excel. <persName>J.F. <note type="annotation">Julie Feinberg</note></persName></p> <p> As an artist in this eclectic age, my interest in women's traditional arts is filtered through exotic, romantic notions of other cultures. I am interested in how cultural frameworks affect art and aesthetics. Primitive artists have been described as reflecting the style of their culture rather than having an individual style. I wanted to explore that idea with particular reference to women. I wondered how women's distance from the power centers of traditional cultures related to their styles of artmaking and choices of materials. I questioned whether women artists had as their purpose the expression of their culture's basic conservatism or if they sought to change it. <persName>L.G. <note type="annotation">Lenore Goldberg</note></persName></p> <p>My earliest responses to the traditional art of women were contradictory. I wanted to celebrate women who, despite natural and man-made constraints, have been creative in the transformation of various media. I also wanted to understand the historical forces that have tried to colonize women's fantasies, limiting them in their choice of media, iconography, and access to an audience, and how these limitations have related to restrictions in other spheres of their lives. A historical understanding of women and art is a prerequisite to a meaningful encounter with the contemporary culture of women. <persName>E.S. <note type="annotation">Elizabeth Sacre</note></persName></p> <p>Studying women's artmaking in traditional societies, I had a sense that certain core needs were fulfilled by many kinds of activities, whether or not the product of these activities was called art or craft. Both categories seem to embody these needs – manual/tactile, conceptual, creative/transformative—in the making as well as the experiencing of these objects. "Icing" a canvas or icing a cake, shaping a bowl or painting flesh, weaving a blanket or looking to that blanket as inspiration, can all be seen as examples of these needs in practice. <persName>J.G. <note type="annotation">Julie Gross</note></persName></p> <div> <head> Peru</head> <p>In <placeName key="Peru" ref="http://www.wikidata.org/entity/Q419">Peru</placeName> textiles were produced as early as 2500 B.C. They served as the major vehicle for abstract social and religious expression until the end of the Inca state in 1532 A.D. Textile styles developed throughout the successive Peruvian cultures of <orgName key="Paracas culture" ref="http://www.wikidata.org/entity/Q1127723">Paracas</orgName>, <orgName key="Chavín culture" ref="http://www.wikidata.org/entity/Q13341477">Chavin</orgName>, <orgName key="Nazca culture" ref="http://www.wikidata.org/entity/Q210570">Nazca</orgName>, <orgName key="Tiwanaku" ref="http://www.wikidata.org/entity/Q61750">Tiahuanaco-Wari</orgName>, <orgName key="Chimú culture" ref="http://www.wikidata.org/entity/Q901198">Chimu,</orgName> and <orgName key="Inca civilization" ref="http://www.wikidata.org/entity/Q3404008">Inca</orgName>, and continue today. For almost 5,000 years, until the Spanish conquest, Peruvian textiles enjoyed an uninterrupted freedom from foreign influence. Thus a clear, strong indigenous style evolved.</p> <p>Most accounts attribute this activity to women by implicit assumption, not stating it as actual fact, which suggests that to formally attribute to women a cultural legacy of such artistry and expertise is to go out on a limb and to risk being dismissed as biased and unscholarly. One prominent authority, in a classic essay on Peruvian textiles, indicates the weaver's sex only once by using the pronoun "she" to clarify a sentence at the end of the article’s seventeen pages. However, reports and excavated artifacts exist <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_033.jpg" n="33" xml:id="img_0033"/> which confirm that Peruvian spinning and weaving was predominantly a woman's art. Spindles, pottery, and cloth dolls portraying women weavers (sometimes with a male overseer) have been found at gravesites. Early Spanish chronicles and contemporary accounts also describe women’s prevalent role as weavers.</p> <p>The sandy soil and dry climate of coastal Peru have preserved ancient textiles well. Despite extremely simple technology, the level of manufacture was very high, with variations impossible to duplicate today on machine-powered looms. Peruvian spinners could produce yarn of great fineness and consistency, measuring 1/250th of an inch in diameter, thus enabling the weaver to produce a textile as tightly woven as 250 threads per inch. These women dealt with more than a simple grid structure. Technical ingenuity was shown in the variety of twined, embroidered, and knitted threads creating rich surfaces and detailed motifs. Patterning began about 1800 B.C. with the techniques of brocade, tapestry, double-cloth, and pattern weave being invented and often brilliantly combined. Subtle and varied color combinations from vegetable and mineral dyes existed from Paracas times onward.</p> <p>Early cotton fabrics made by weft-twining were replaced when a loom with heddles was introduced which expanded an annual production to tens of thousands of square meters of textile and implemented the use of llama, alpaca, and vicuna wool. Despite their basic rectilinear shape, weavings were put to use as varied as ponchos, mantles, wall hangings, and mummy wrappings. As much as 200 pounds of textiles, depending on the person’s wealth, were accumulated for burials. In life as well as in death, possession of fine textiles symbolized status. Sex, age, marital status, and occupation were also signified by wearing textiles of a certain color, size, material, or motif.</p> <p>Accounts after the Incan empire was conquered chronicled textiles' social significance. A wife's desirability was measured by the quality of her weaving. Wives of one household would compete as to who embroidered the best blanket. At Incan weddings husbands gave brides a fine cloth to indicate their joint control of the new household. Incan initiations required four clothing changes, to be woven in a single day by the initiate's mother and sisters.</p> <p>A textile's sacred quality was heightened by the compression and "density" of energy in the garments being transferred to the wearer. Incan shrines of venerated female ancestors included their spindles, handfuls of cotton, and unfinished webs of tapestry as offerings or for keeping fingers busy in the next world. These tools were protected in case of an eclipse, when it was thought a comet would destroy the moon, a female symbol. The spindles would then be in danger of turning into snakes, the looms into bears and jaguars.</p> <p>Throughout Peru's history, the distinguished quality of tapestry tunics, mantles, and diaphanous gauzes made part-time weaving unlikely for those engaged in multiple household duties. This indicates the existence of a class of specialist spinners, dyers, and weavers. All peasants under the Incan empire were required to work and weave for state needs during two-thirds of the year. At first, both men and women spun and wove to satisfy their obligation to the state. Houses were organized for specialized guilds called the <lang>aklla</lang>, weaving or "chosen" women. Aged or infirm men, exempted from mitta, labor services, made ropes, slings, nets, or sacks.</p> <p>Under Spanish colonialism, any artisan manufacture competing with goods of the mother country was initially suppressed. The Spanish introduced a new weaving technology. Today men still use medieval Spanish looms, while Andean women hand spin and weave on indigenous looms and follow original patterns, although their weavings lack the earlier intricacy and subtlety. Factory-produced textiles are also manufactured. A strong textile workers' federation in the 1940s defended the rights of women, despite the fact that female suffrage was not legal until 1955. This union caused Peru to be the only country with a large textile industry to legally prohibit sex discrimination in wages. The history of Peru documents a long tradition of superlative textile art made by women. These works emerged as the product of traditional cultural values. Peruvian weavers were ingenious and dexterous; they utilized natural materials sensitively in what now seems a simpler and temporally slower reality. Within a society with rigidly defined sex roles, women lacked many options. Weaving paradoxically served to focus their vision and allowed their inner resources to be realized. Complexity and beauty glow in the work, which resists grandiosity as false and alien. These works, in which women wrapped and shaped the history of Peru, are true to themselves.</p> <byline>J.G.</byline> </div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_034.jpg" n="34" xml:id="img_0034"/> <div> <head>New Zealand Maori</head> <p><note type="researchNote">14th to the 19th century.</note>In the beginning, Rangi-nui (sky father) and Papa-tua-nuku (earth mother) embraced. Their love produced 70 supernatural beings who, embodied in natural phenomena, were everyday deities. Tane, the oldest child, convinced his brothers and sisters to force their parents apart so that the earth could have light. In this way he became the god of light and took the form of the sun. Tane wanted to create a race of mortals for the earth, and he began a wide search for <lang>uha</lang>, the female element. In his wandering, he reached the twelfth heaven where he sought the aid of Io, supreme god. Io's attendants sent him to Kurawaka, the public region of his mother Papa. There he created a woman from mud and earth, breathing on the inanimate figure until she came to life.</p> <p>Such myths simultaneously reflected and created the status and treatment of women in <placeName key="New Zealand" ref="http://www.wikidata.org/entity/Q664">New Zealand</placeName> <orgName key="Māori" ref="http://www.wikidata.org/entity/Q6122670">Maori society</orgName>. Man was considered the sacred provider of life-giving elements while woman was regarded as his profane, passive receptacle; men were associated with life and strength, women with death and destruction. Female reproductive organs were called the "house of misfortune and disaster." Distinctions between men and women colored every aspect of life in Maori society: the right side of the body was male and vital, the left female and degraded. These designations had tactical implications in battle and were used to explain good and bad fortune. Women were excluded from access to esoteric knowledge and ceremonial rituals because they were not tapu (sacred). Only highborn men could become <lang>tohunga</lang> (priests) and only <lang>tohunga</lang> knew Io. Women knew only Io's familiar manifestations. Nevertheless, women had their own rituals: they greeted the reappearance of certain constellations—Pleiades (Maori new year) and Canopus (first frost)—with song and dance. The moon, regarded by women as their true husband, was similarly welcomed.</p> <p>A distinct sexual division of labor began after birth when children were dedicated to masculine and feminine roles. When the sacredness of an activity might be destroyed by the presence of women, these tasks were done by men. When the sacredness of men might be degraded by doing certain tasks, these were done by women. In practice, this meant that men's tasks were physically dangerous and seen as challenging: hunting, open-sea fishing, tattooing, and carving wood and greenstone. Women's tasks followed the rhythm of domesticity: collecting food, water, and firewood, cultivating and preparing flax, weaving, and offering hospitality through singing and dancing.</p> <p>Women's decorative impulse found form in the <lang>taniko</lang> designed borders of the cloaks they wove. Weaving was the last stage in a complicated, arduous, even painful process which began with the cultivation of flax and continued through the scraping, plaiting, pounding, and rolling of flax fibers into twine. Girl children learned early that they were destined to become weavers. As babies, their first thumb joint was bent outwards in anticipation of certain tasks. As children, they played to the accompaniment of ditties like: "The woman with nimble hands and feet, marry her; The woman who chatters, cast her out" and "Who will marry a woman too lazy to weave garments?"</p> <p>By the age of nine or ten, girls began complex and ritualized training. They were made <lang>tapu</lang> through a ritual, sitting inactive while a male instructor recited a charm. They were then instructed to bite into the upper part of the right weaving stick which was <lang>tapu</lang> (masculine). Until their first sampler was finished, they were not allowed to communicate with anyone other than the priest or instructor. Eating sow thistle removed the <lang>tapu</lang>.</p> <p>Flax was woven on primitive looms consisting of two sticks in the ground. Taniko elements included triangles, chevrons, diamonds, and hourglass shapes; the predominant colors were red, black, white, and yellow. Feathers were used decoratively in the weaving of garments, kiwi feathers being highly valued, parrot feathers adding bright color. Since they were inserted as the garment was woven, the overall pattern had to be kept in mind. Sometimes, hard strips of flax were curled into tubular forms and hung from a band. This produced a rattling sound during dancing, serving as the unique percussive instrument in Maori culture.</p> <p>Carving was forbidden to women; weaving was open to men. Women used only the <lang>taniko </lang>patterns in their decoration. Men used the <lang>taniko</lang> patterns in carving a single wallboard (<lang>heke tipi</lang>) high above the house porch, but typical male iconography directly represented feared or revered aspects of their environment: stylized human figures, mythic long-tongued sea monsters, lizards and ancestors. Even the more abstract male patterns were related to such elements in their surroundings as sea waves, hammerhead sharks, ferns and sand flounder.</p> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_035.jpg" n="35" xml:id="img_0035"/> <p> Both male and female designs were subject to strict rules; although there were accepted evaluative criteria such as symmetry, rhythm and dramatic use of color, designs were not copied and within formal constraints, originality was expected. Although choices of material and iconography were socially defined for both sexes, men enjoyed more latitude. If art is that which approximates the autonomous, then there was a curious freedom in the restricted iconography of women, since the abstract elements of <lang>taniko</lang> were not reality dictated. But men could use <lang>taniko</lang> too. Since they also had access to schools of weaving, even if they rarely exercised the option, role flexibility was greater for them. Men's political and religious power enabled them to structure language and assign values in Maori society. The actual reciprocity on which the society was based was not acknowledged. Maori mythology reinforced the ideology of male superiority which devalued the tasks and art produced by women.</p> <byline>E.S.</byline> </div> <div> <head>The Chilkat</head> <p>North of Oregon, south of Alaska, is a coastal area abundant with game, fish and vegetation. Here in the late 18th and 19th centuries lived a subgroup of the <orgName key="Tlingit" ref="http://www.wikidata.org/entity/Q536129">Tlingit</orgName> tribe—the <orgName key="Chilkat" ref="http://www.wikidata.org/entity/Q12628963">Chilkats</orgName>. Their neighbors were the <orgName key="Tsimshian" ref="http://dbpedia.org/resource/Tsimshian">Tshimshian</orgName>, <orgName key="Kwakwaka'wakw" ref="http://www.wikidata.org/entity/Q1137355">Kwakiutl</orgName> and <orgName key="Haida people" ref="http://www.wikidata.org/entity/Q210332">Haida</orgName>, with whom they traded, fought, and intermarried.</p> <p>Basic survival needs could be met with relative ease among the Chilkats because of the lush environment. The Chilkat society was a chiefdom, based economically on the redistribution of goods within a network of family groups linked through matrilineal descent. Resources were owned communally, while special highly decorated objects were accumulated to give prestige to heads of the individual clans. Among these objects was a type of shawl or robe, popularly referred to as a "blanket."</p> <p>The story is told that a Chilkat bride of a Tshimshian chief learned the art of making cedarbark dance aprons and leggings. When she died, a dance apron was sent home to her relatives, who unraveled it in order to understand how it was made. They began then to make blankets in the same fashion, although eventually they became far better-known as weavers than the Tshimshian.</p> <p>Blankets were woven with yarn spun from mountain goat wool with a core of yellow cedarbark twine. Men hunted the goats and made the half-loom; women spun and dyed the yarn black, blue, yellow, and white from hemlock, copper, and vegetable dyes. In all instances, women were the weavers. They set up the loom and tied off the warp bundles to form a shallow curve along the lower edge of the blanket. While in certain cases they copied patterns painted on boards by men, in others they designed their own weaving patterns. There were two distinct styles of Chilkat blankets. The first was abstract with chevrons, stripes, enclosing borders, and squares. This was the women’s style. The second, the men's style, was representational using signs or symbols for man, animals, and water life.</p> <p>The abstract and representational styles shared many characteristics. In addition to the unique curved shape of the lower edge, the visual field in both is highly active and extremely dense, although the mode of expression looks dissimilar.</p> <p>The male-style blankets reflected men's foraging activities through bilateral symmetry and x-ray and transparent portrayals of animal motifs. The blanket, organized by a central panel and two flanking sides, was itself like a flayed animal skin. Because of the Chilkat's desire for design density, the overlay of motifs sometimes made interpretation of the blankets difficult, if not impossible. The animal characteristics portrayed were often determined by a dream that the male artist or the patron had. As designers of the representational blankets, men brought their dreamlife into the waking world as a record of their encounters with the supernatural. We have no such record of the women's dreams.</p> <p>Women were prohibited from creating designs involving life forms, so that while simultaneously producing men's blankets, women wove their own using a purely abstract design system. Variation of visual elements, contrast of yarn color, and variety of texture created blankets with strong graphic and sensual impact. The geometric patterns with alternating areas of linear density created a rhythmic variation which broke the uniformity of the field. Design in the women's style was even denser than in the men's. By filling the space from edge to edge, the weavers virtually eliminated any illusion of shallow planar recession. Instead, they created an advancing plane by the addition of wool and bark fringes protruding from the body of the robes which emphasized the flatness and frontality of the surface conception. Instead of the dreamlike meditations implied in the men's blankets, the female style was at once more accessible and more reserved: accessible through the emphasis on the physicality of the textile, reserved because of the impenetrability <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_036.jpg" n="36" xml:id="img_0036"/> of the design. Because of the limited number of design elements, the variation of combinations gave richness to the weavings. Just as the women were not at the center of the power hierarchy of the Chilkat clans, their art did not rely on signs central to the culture. The limited motifs available to women were indicative of the women’s position in relation to the status quo, the fabric out of which the blankets were created.</p> <p>Both men's and women's blankets were highly valued and were used in a variety of ceremonies. Given as dowry, along with songs, dances and titles, they were commonly made for the potlatch. Potlatch was integral to Chilkat life. These were competitive ceremonies involving the distribution and destruction of wealth. Blankets were often cut up and handed round or burned in vast quantities of salmon oil. Guests sometimes collected pieces of blankets they received as gifts and later reassembled them into new blankets, shirts, or dance aprons. In this way, they created collage motifs and symbols. The recipient was obliged to pay back the gift, preferably with interest. Blankets therefore were a currency of obligation. The Chilkats based their interpersonal relations on desire for power and control, intense competition coupled with a philosophy of conspicuous consumption. The many social ceremonies in which the Chilkats demonstrated these characteristics created an unending demand for prestigious art objects, like the blankets. At some point in their history, the Chilkats began to support professional artists to meet these needs. Partly as a result of the desire to consume or destroy costly items, the Chilkats valued objects that were very difficult to produce. The intricacy of the men's style blanket patterns made them more highly valued than the women's style; these considerations were central to the Chilkat ideas of aesthetic appreciation.</p> <p>Men's concerns were at the center of their society's power structure – represented in blankets by hunting and mythological motifs. However, even though the women's style did not demonstrate the same access to the culture's core concerns, their blankets were highly regarded. The competitive give-aways which commissioned the prestige-laden blankets of both styles raised the weavers' status. As European contact increased, European standards infiltrated the Chilkat community and affected the production of female-style blankets. The increased demand for representational blankets, sought after for their unique yet recognizable images, limited the time the weavers had to produce their own type of textile. It is partly as a result of this influence that the female-style Chilkat blankets have received so little attention.</p> <byline>L.G.</byline> </div> <div> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_037.jpg" n="37" xml:id="img_0037"/> <head>The Navajo</head> <p><q>Spider Woman instructed the Navajo women how to weave on a loom. The warp was of spider web. There were crosspoles of sky and earth cords, warp sticks of sun rays, and healds of rock crystal and sheet lightning. The batten was sun halo, and white shell made the comb. The four spindles were of flash lightning with a whorl of turquoise, lightning with a whorl of abalone, a rain streamer with a whorl of white shell and zigzag lightning with a whorl of coal. <bibl>—A Navajo Legend</bibl></q></p> <p> The <orgName key="Navajo" ref="http://www.wikidata.org/entity/Q108266">Navajos</orgName> explained the origins of weaving through the myth of Spider Woman. As an art form weaving reflected a changing Navajo culture and therefore serves as a valuable and permanent record. Through their vigorous design and color, and the technical skill involved, Navajo blankets expressed women’s vision and artistry.</p> <p>Blankets were woven for many needs but were essentially used for clothing and warmth. Their other uses were as bedding, saddle blankets, and floor coverings for sitting. They were also used as doorways to Navajo homes, called <lang>hogans</lang>. The blankets were secular, not ceremonial, textiles through which the women expressed a strong personal connection to the people using them. Blankets represented, and perhaps symbolized through their design, the life of the wearer. When worn, the blanket's linear design emphasized the verticality of a standing person. The wearing of blankets enlivened the environment, not only visually, but also through the symbolic meanings of color. To the Navajo red meant Blessed Sunshine, white the East or Morning Light, blue the South which was cloudless, yellow the West or the Sunset, and black the North where dark clouds originated. Combinations evoked naturalistic images. For example, black vertical lines might represent rain, and on a yellow background, the rain in the evening sky. Women followed certain traditional forms, but each weaver made her own interpretation and wove the blanket herself. Individuality of the blankets was highly regarded; each weaver's ideas and feelings could be expressed in unique designs which were never repeated.</p> <p>In Navajo society, women historically have been greatly respected and thought the equal of men. Deep religiosity and mythology permeated daily life, explaining natural phenomena and daily tasks, and creating their history. Woman was deified in Navajo mythology as Changing Woman, a central figure who designed the <lang>hogans</lang>. By hanging her blankets as a doorway and designating their colors as those of "Dawn, Sky Blue, Evening Twilight, and Darkness," women connected the domestic, natural, and religious spheres, a synthesis typical of Navajo life structure. Women headed the separate family units and managed their economic affairs. In this matrilineal society, women’s participation in rituals and in political activities was considered essential. Their chores included cooking, sewing, caring for the house and children, gathering wood, hauling water, butchering livestock, and herding the sheep from which they prepared the wool for their weaving. This preparation included shearing the wool and <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_038.jpg" n="38" xml:id="img_0038"/> carding, spinning and dyeing it. Frequently women built their own looms, which were set up outside in summer and inside the <lang>hogan</lang> in winter. Looms were made of logs placed vertically and could be dismantled for transport from summer to winter grazing grounds. The women designed and wove their blankets, without prior drawings, as their time and chores allowed. The earliest-known examples of the Navajo blanket date from <date when="1805">1805</date>. However, the first Navajos who migrated to the Southwest United States in 1000 A.D. probably used tree and bark fibers. It was not until the fifteenth century when Spanish livestock was brought to the neighboring Pueblo Indians, that Navajo weaving changed significantly. Through trade and raids, the Navajo got sheep which provided the women with softer threads and the varying colors of natural fleece. Exposure to the weaving techniques of the Pueblos in the late seventeenth century influenced Navajo weavers to experiment with new techniques and develop a style of alternating bands of natural wool colors.</p> <p>As dyes and yarns were obtained through trade, new colors began to be used. One of the earliest colors was a red whose source was the unraveled, respun, and rewoven threads of an English fabric called "bayeta," imported by the Spaniards and traded to the Pueblos. Because of their complexity and technical skill, these "bayeta" blankets were renowned among the Spanish and other tribes. To own a Navajo blanket was considered a sign of honor.</p> <p>Stylistic changes also occurred after contact with North American culture. In the 1860s the Navajos fought with and finally surrendered to <persName key="Kit Carson" ref="http://www.wikidata.org/entity/Q379673">Kit Carson</persName> at <placeName key="Fort Sumner" ref="http://www.wikidata.org/entity/Q1514927">Fort Sumner</placeName>, where they were imprisoned for four years. Although conditions there were not good, the Navajos assimilated many new influences. One of the dominant and most startling styles to come out of this period was the "Eye-Dazzler," so called for its interplay of expressive pattern and vivid color. This style, as well as others, showed the weaver’s mastery in its finely spun wool, even and tightly woven texture, boldness and energy of design, and subtlety in its skillful handling and control. In relation to this highly developed artistic decísion-making <persName key="Gladys Reichard" ref="http://www.wikidata.org/entity/Q15998733">Gladys Reichard</persName>, in <title level="m">Weaving a Navajo Blanket</title>, speaks of the weaver Atlnaba who "spends hours experimenting with the colors at her command... She may discard a dozen greens and yellows before she accepts one.</p> <p>Men and women in Navajo society used different aesthetic systems to filter and express their perceptions. Men’s art, unlike the women's, was religious. Sand paintings, whose powers were guarded in secret and destroyed after the ritual, used figurative imagery to summon the spirits and gain vicarious control over nature. Women’s art, however, was visible in everyday use. Women employed a nonfigurative and abstract imagery, powerfully reflecting the desert landscape in which the Navajo lived, a landscape of horizontality, expansiveness, drama, and vivid color. The strength of their aesthetic language and the power of its expressiveness reveal the great pride Navajo women felt in their social and economic importance and the value of their activities.</p> <byline>J.F.</byline> </div> <div> <head>Lacemakers of Western Europe</head> <p>Wearing and making lace was important in Europe from the sixteenth through the nineteenth centuries. Lace appears to us today as a delicate and innocent fabric. The world in which it existed was far from innocent, and despite its appearance, lace and its history illustrate this. Like other luxuries, most lace could be had only by the wealthy. The women who made it rarely benefited from it. While their products were coveted, they worked under poor and sometimes hazardous conditions. As symbols of status, laces left the humble homes of lacemakers to enter a world removed from their lives.</p> <p>The two most highly prized laces were "needlepoint," which depended entirely on the buttonhole stitch, and "bobbin," in which thread was woven, twisted, and braided around bobbins. These laces were made by women of all classes. Wealthier women made it for recreation and because it befitted their roles as "cultivated ladies." Poorer women made it to sell. Lace made for personal use contained any design of the woman’s imagination and cultural heritage. Motifs included fantastical animals, birds, human figures or religious scenes or symbols. Designs for commerce were more limited. They were usually created by male patternmakers according to prevailing fashion, although commercial lacemakers' own interpretations were also highly valued. Each country and region had indigenous designs, but if lacemakers moved to new areas, they took their patterns and drawings with them. Many towns were financially dependent on this female industry despite the low wages paid.</p> <p>The process of making lace was painstaking and required close scrutiny. The thread was so fine that complicated means were necessary to magnify it. Many lacemakers went blind by the time they were thirty. Every effort was made to keep the lace clean and delicate, mostly at the expense of the lacemaker's health. Often thread spinning and lacemaking were done in damp cellars to prevent the thread from becoming brittle and breaking. In winter lacemakers worked in lofts above cowsheds for warmth so that the lace was kept away from smokey fireplaces. Its production was time-consuming; a woman could spend a whole year on a single piece of Valenciennes. In <date when="1855">1855</date> <persName key="Napoleon III" ref="http://www.wikidata.org/entity/Q7721">Napoleon III</persName> ordered a dress for <persName key="Eugènie de Montijo" ref="http://www.wikidata.org/entity/Q157130">Princess Eugenie</persName> which took 36 women 18 months to complete. Even when not involved in such ambitious projects, women might spend 12 to 15 hours each day making lace.</p> <p>Lace was produced in whole pieces or in parts depending on the design. Making separate parts entailed a division of labor determined by specialization and skill. Some women were better at making the ground net, others at filling in the flowers, etc. The most skilled worker assembled the entire piece.</p> <p>To sell their work, lacemakers were immersed in a cumbersome commercial process, called the "facteur" or middleman system. A commercial house (manufacturer) was represented by a facteur who, acting as its agent, supplied lacemakers with patterns and raw materials on credit. Finished pieces were then sold to the facteur who in turn resold them to the manufacturer. There was little or no contact between lacemakers and manufacturers. Facteurs were usually women—former lacemakers who could supervise other lacemakers and who were counted on to drive a hard bargain for the manufacturer. Since lacemakers were totally dependent on facteurs for their work and raw material, they were unable to bargain for better pay or working conditions. Their only other option was to become facteurs. The contradiction of this system is that through personal advancement the women who became facteurs helped to perpetuate the exploitation of their former peers.</p> <p>For aristocratic women instruction in lacemaking prepared them for futures as "noble ladies." Poor girls were taught at home, in convents, or in charitable institutions. Convents established apprenticeships where girls began their training at five and by ten were able to earn their keep. They were taught lacemaking not to master an art but to make a living. Women of both classes were denied the opportunity to direct their own lives. The notion that women were suited to <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_039.jpg" n="39" xml:id="img_0039"/> work which required patience and perseverance directly resulted from the constraints imposed upon them by society.</p> <p>Ironically most lacemakers did not benefit from the beauty and romance of lace. In addition, their products became symbols in a world in which they did not participate. Lace was highly valued by the rich because it represented their position in society. Men boasted about how much land their lace was worth; they appeared in ballrooms wearing as much of it as they could. Women wore it as a reflection of their husbands' or fathers' wealth. Lace became a nationalistic emblem. Countries were highly competitive in its display and production. Monarchs decreed that only their favorite native laces could appear in court. Edicts were proclaimed banning the use of foreign laces to protect home industries and black markets involving smuggling and kidnapping developed to undermine these laws. When lace designs were traded, they were secretly guarded. When Belgium tried to prevent the theft of lace imported from France, these designs were so cut up when distributed to lacemakers that their entirety was unknown to any individual woman. It was feared that a lacemaker would attempt to smuggle or to sell the design.</p> <p>Lace made by women for personal use was often kept by their families which also preserved the memory of the lacemakers. Lace made to sell was and is perceived as anonymous. Although most lacemakers remain unknown to us, their art is silent witness to the arduous and creative work which was their tradition.</p> <byline>B.L.</byline> </div> <div> <head>Speculations</head> <p>Because art, its creation, and the theories surrounding it are political, we have placed the textile art made by women in traditional societies into a cultural context, instead of simply considering the artifacts. We have explored aspects of women's art in each of five cultures, relating them to women's broader social identities. Our assumption that art dialectically reflects and contributes to the creation of society was basic to our study and revealed in our research.</p> <p>Peruvian textiles were viewed as sacred; as such, women making them performed this task as a ceremonial act of creation. Textiles reflected status within Peruvian culture, making the weavers responsible for visibly defining differences of rank.</p> <p>In Maori society, women were considered nonsacred and socially inferior. Activities like wood and greenstone carving were forbidden to them. It was possible for men, on the other hand, to weave and use women’s designs, although they usually undertook women's tasks only as instructors in weaving schools where they initiated girls into the ritual, technique, and aesthetics of weaving.</p> <p>In Chilkat society, rank and privilege were inherited matrilineally, but women did not really own the titles passed down to them by birthright. Instead, titles were given by women's fathers to their husbands at the time of marriage The distinctions of female/male status can also be seen in relation to blanket making. While men designed the representational blankets, women executed their designs. Despite a certain lack of legitimate power, women exerted covert power as weavers by inserting disruptive motifs into the spaces on and between male mythological designs. More importantly, women designed and wove blankets which were also highly valued by their culture, although not representational in style.</p> <p>Women in Navajo society were well respected. Their responsibilities and powers were equal to those of men. Though it was possible for women to participate in the making of religious art, they rarely did so, preferring to maintain the female tradition of weaving. Their weaving used strong abstract imagery. Their textiles were highly valued both inside and outside the tribe.</p> <p>Class differences in Western Europe affected the production of lace. Wealthy women made it as part of their required repertoire of ladylike leisure accomplishments. Poor women made it for a living. Paradoxically, this afforded them a certain autonomy that richer women did not achieve, but this autonomy did not extend to conceptual control over commercial lace design. Because our research has focused on particular aspects of five cultures, we are not making universal claims. Rather we have explored alternative ways of looking at and trying to understand women and their products. These have included:</p> <list> <item>• working collectively in our research, discussions, and writing;</item> <item>• questioning our information sources, particularly in terms of their andro- and ethnocentrism;</item> <item>• articulating our own filters, consistent with our contention that objectivity in research or interpretation is neither possible nor even desirable.</item> </list> <p>We came to our project curious, confused, angry that even within the already denigrated category of "traditional art," women's objects had often been overlooked or misrepresented. We were ready to be sympathetic to the women whose objects had attracted us to this research in the first place.</p> <p>But we wanted to avoid merely replacing one set of distorting biases for another. We wanted to understand our curiosity, clarify our confusion, find the sources of our anger without anachronistically using contemporary Western notions like oppression of women to explain sex hierarchies. We were wary of our sympathy for the objects and their makers and did not wish to impose a simple translation of Western definitions of art onto societies where art had a very different meaning. All the speculations that follow should be read in the context of these qualifications.</p> <p>There is a contradictory freedom in the abstract style of women's art in some of these cultures (Maori, Chilkat, Navajo). Women's iconography did not directly function in the service of male religion and therefore was not subservient to male mythology. The "abstractness" of women's art has to be questioned. Men, investigating New Zealand Maori male design, have taken great pains to discover that, though abstract, this iconography is an exaggerated stylization of natural objects in the Maori environment. Yet the literature <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_040.jpg" n="40" xml:id="img_0040"/> on women's styles denies that their abstractions also have meaning. Chilkat men designed their dreams into the blankets woven by their women. Because their symbols have been interpreted more than the designs of the women does not negate the possibility that female abstractions have symbolic meaning too. That the making of Navajo blankets was embedded in the myth of Spider Woman and that their colors and designs call to mind so evocatively the atmosphere of the Navajo environment suggest the possibility of a latent symbolism.</p> <p> Even the claim that men have often tended to be the designers and women the makers (of Chilkat blankets, of lace) cannot be accepted at face value. In the Chilkat society, women challenged the constraints imposed by male designers by inserting their own motifs. By the time lacemaking had become an industry men were the acknowledged designers, although the industry drew on the long tradition of cottage lacemaking. Women had been sovereign over the whole process, and undoubtedly many designs had their origins in what women had been creating for centuries.</p> <p>Though our focus has been on the female/male contradiction, other forms of stratification existed in Peruvian, Maori, Chilkat, and European society. Status distinctions separated women from each other as well as women from men. Lace was made in the context of early capitalism in which old feudal distinctions between the high and low-born were giving way to class structures. As lace was produced for commerce, the opportunity for some poor women to become facteurs developed. This created additional inequalities in income and status between lacemakers. In Maori society the advantages of being a <lang>puhi</lang> or woman aristocrat (more elaborate clothing, ornamentation, responsibilities for organizing entertainment) were tempered by restrictions, particularly on her sexual freedom, her choice of husband and lovers. The Chilkat social structure was stratified into chiefs, commoners, and slaves; women occupied all three ranks. As has been discussed, though rank was matrilineally inherited, the women who owned titles tended, in turn, to be the property of men. The Navajo society, where women enjoyed equality with men and there was mutual respect between the sexes, was not hierarchical. Apparently, the more stratified a society is and the more its production depends on the existence of castes and classes, the more likely it is that women in general, and women in less prestigious groups in particular, will be designated inferior in practice, ideology, and myth.</p> <p>What strikes us is that despite the potential of traditional social structures to muffle and distort the artistic expression of women, the effect on women’s artmaking was contradictory. Conceptualization was separated from execution of design in Chilkat and Peruvian societies and, most extremely. among employed lacemakers in Western Europe. The range of media and motifs available to women was restricted in Maori and Chilkat societies, and women's art was designated as nonreligious in societies such as the Navajo and Maori where religion was valued. Despite these limitations, women's textiles asserted themselves as beautiful art objects. Out of this contradiction, women invented a varied abstract visual language. We are not attempting to resolve that contradiction, which is a real one. It is not our point that the objects women made were, or need to be, judged qualitatively as equal, inferior, or superior to those of men. What we are saying is that we do not subscribe to these categorizations.</p> <p>We cannot neglect the contexts, both real and ideological, in which women's art has been made. Our critique questions the social and political structures which created and perpetuated discriminating hierarchies. By looking at traditional societies through our Western, female eyes, we can acknowledge the biased quality of our interpretations. We can also see how contemporary biases were anticipated by the discriminatory attitudes toward women characteristic of the cultures we have investigated.</p> <p>We take for granted that women's self-expression in textiles was artistic expression. Social structures and supporting mythologies did have the potential to thwart creative needs of women. What was important was women's ability to break codes, to play with format, and to transcend limitations. Women often had to subvert societal dictates in order to gain access to a fundamental human need—that of artistic self-expression. Any attempt to deny this need is a painful form of oppression. 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E.,</author> <title>Paracas Embroideries.</title> New York: Augustin, 1941.</bibl> <bibl> <author>Vreeland, J.,</author> <title>“Ancient Andean Textiles, Clothes for the Dead,” Archaeology,</title> 30 (3) 1977, pp. 166-178.</bibl> <bibl> <author>Warble, Patricia,</author> <title>Victorian Lace.</title> London: Praeger, 1968.</bibl> <bibl> <author>Wingert, Paul S.,</author> <title>Primitive Art: Its Traditions and Style.</title> Cleveland and New York: World Publishing, 1962. </bibl> </div> </div> </body> <back> <div> <p> Jean Feinberg is a painter living in New York City. Lenore Goldberg is a New York painter involved with pattern and collage. Julie Gross is an artist living in New York who teaches at <orgName>Pratt New York Phoenix School of Design</orgName>. Bella Lieberman does art and secretarial work in New York City. Elizabeth Sacre, an Australian, is studying literature and education at <orgName key="Teachers College" ref="http://www.wikidata.org/entity/Q7691246">Columbia University Teachers College</orgName>.</p> </div> </back> </text> </TEI>
