Ways of Change Reconsidered 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Contributors</title> <author>Collective</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <pb/> <div> <pb n='80'/> <p> <lb facs='#facs_80_r_1_1_tl_1' n='N001'/>WAYS OF CHANGE RECONSIDERED: <lb facs='#facs_80_r_1_1_tl_2' n='N002'/>AN OUTLINE AND COMMENTARY <lb facs='#facs_80_r_1_1_tl_3' n='N003'/>ON WOMEN AND PEACE IN NORTHERN IRELAND <lb facs='#facs_80_r_1_1_tl_4' n='N004'/>SARAH CHARLESWORTH </p> <p> <lb facs='#facs_80_r_2_1_tl_1' n='N001'/>Compared to the devoted and laborious build-up that <lb facs='#facs_80_r_2_1_tl_2' n='N002'/>took place before all the other peace rallies that I have at <lb facs='#facs_80_r_2_1_tl_3' n='N003'/>tended in Belfast — the advertising, the canvassing, the care <lb facs='#facs_80_r_2_1_tl_4' n='N004'/>fully balanced composition of the platform party —here <lb facs='#facs_80_r_2_1_tl_5' n='N005'/>there was apparently no planning at all. No platform, no <lb facs='#facs_80_r_2_1_tl_6' n='N006'/>loudspeakers, no stewards, no prepared order of service. Just <lb facs='#facs_80_r_2_1_tl_7' n='N007'/>a vast throng of women, gathered at the spot where shortly <lb facs='#facs_80_r_2_1_tl_8' n='N008'/>before, the war between the terrorists and the army had cost <lb facs='#facs_80_r_2_1_tl_9' n='N009'/>the lives of three children.... One had a gnawing uneasiness <lb facs='#facs_80_r_2_1_tl_10' n='N010'/>that nothing more was going to happen <lb facs='#facs_80_r_2_1_tl_11' n='N011'/>What did happen was a sudden burst of derisive yells <lb facs='#facs_80_r_2_1_tl_12' n='N012'/>and taunts from a band of youths defiantly brandishing the <lb facs='#facs_80_r_2_1_tl_13' n='N013'/>tricolour flag from a vantage point on the roof of a nearby <lb facs='#facs_80_r_2_1_tl_14' n='N014'/>garage. At that moment perhaps nothing could more effec <lb facs='#facs_80_r_2_1_tl_15' n='N015'/>tively have rallied the rally." Suddenly it seemed we knew <lb facs='#facs_80_r_2_1_tl_16' n='N016'/>what we were there to do. From one to another the word <lb facs='#facs_80_r_2_1_tl_17' n='N017'/>threaded like quicksilver through the crowds: “We’re goin <lb facs='#facs_80_r_2_1_tl_18' n='N018'/>to walk down to the Falls." And walk we did—pushchairs <lb facs='#facs_80_r_2_1_tl_19' n='N019'/>and all —along the road that has become so notorious for <lb facs='#facs_80_r_2_1_tl_20' n='N020'/>violence and anger. Here and there spectators jeered ana <lb facs='#facs_80_r_2_1_tl_21' n='N021'/>flaunted the slogans of hatred, but calmly and steadily the <lb facs='#facs_80_r_2_1_tl_22' n='N022'/>column of women — in the most casual fashion — walked on. <lb facs='#facs_80_r_2_1_tl_23' n='N023'/>As we walked, we talked. “They say," said the woman <lb facs='#facs_80_r_2_1_tl_24' n='N024'/>beside me, "that there's Protestants walking with us."“That's <lb facs='#facs_80_r_2_1_tl_25' n='N025'/>right," said I... "Tm one of them." The response was im <lb facs='#facs_80_r_2_1_tl_26' n='N026'/>mediate: hands shot out to grasp mine, heart-warming <lb facs='#facs_80_r_2_1_tl_27' n='N027'/>ejaculations of welcome fell on my ears. I felt simultaneously <lb facs='#facs_80_r_2_1_tl_28' n='N028'/>the reality of the division and the unity. </p> <p> <lb facs='#facs_80_r_3_1_tl_1' n='N001'/>In August 1976, there emerged in Belfast, Northern Ireland <lb facs='#facs_80_r_3_1_tl_2' n='N002'/>apparently quite "spontaneously,” a movement, which althougl <lb facs='#facs_80_r_3_1_tl_3' n='N003'/>it was later to be dubbed “The People for Peace” movement, was <lb facs='#facs_80_r_3_1_tl_4' n='N004'/>quite without a doubt a women’s movement, initiated, supported <lb facs='#facs_80_r_3_1_tl_5' n='N005'/>and sustained primarily by women. From the perspective of cla <lb facs='#facs_80_r_3_1_tl_6' n='N006'/>sic political forms, it was and is both extremely traditional and <lb facs='#facs_80_r_3_1_tl_7' n='N007'/>profoundly radical, and it is particularly within the context o <lb facs='#facs_80_r_3_1_tl_8' n='N008'/>Irish politics that it becomes so. <lb facs='#facs_80_r_3_1_tl_9' n='N009'/>My initial interest in the peace movement grew out of a feel <lb facs='#facs_80_r_3_1_tl_10' n='N010'/>ing of solidarity and empathy with both the frustration and the <lb facs='#facs_80_r_3_1_tl_11' n='N011'/>positive vision these women revealed. As I followed its progress <lb facs='#facs_80_r_3_1_tl_12' n='N012'/>my interest began to turn increasingly to its larger political and <lb facs='#facs_80_r_3_1_tl_13' n='N013'/>social implications, not simply in relation to the situation of <lb facs='#facs_80_r_3_1_tl_14' n='N014'/>Northern Ireland, but also in regard to basic issues posed by femi <lb facs='#facs_80_r_3_1_tl_15' n='N015'/>nism in relation to traditional patriarchal political analysis an <lb facs='#facs_80_r_3_1_tl_16' n='N016'/>practice. What became increasingly apparent as I continued my <lb facs='#facs_80_r_3_1_tl_17' n='N017'/>research was the fact that the peace movement could not be <lb facs='#facs_80_r_3_1_tl_18' n='N018'/>understood and evaluated either on the basis of the primar, <lb facs='#facs_80_r_3_1_tl_19' n='N019'/>social-political traditions of Northern Ireland or from the per <lb facs='#facs_80_r_3_1_tl_20' n='N020'/>spective of an abstract marxist or feminist analysis. These model <lb facs='#facs_80_r_3_1_tl_21' n='N021'/>must themselves be continually measured against the social reali <lb facs='#facs_80_r_3_1_tl_22' n='N022'/>ties which they presume to appraise. <lb facs='#facs_80_r_3_1_tl_23' n='N023'/>The peace movement, to the extent to which it can be called <lb facs='#facs_80_r_3_1_tl_24' n='N024'/>a "women’s movement,” is interesting precisely because it is not <lb facs='#facs_80_r_3_1_tl_25' n='N025'/>in any sense "sophisticated.” Its values and the forms of its <lb facs='#facs_80_r_3_1_tl_26' n='N026'/>organization are a direct manifestation of the attitudes of womer </p> <p> <lb facs='#facs_80_r_4_1_tl_1' n='N001'/>Peace women hit Ulster streets despite threats </p> <p> <lb facs='#facs_80_r_5_1_tl_1' n='N001'/>BELFAST, Northern Ireland <lb facs='#facs_80_r_5_1_tl_2' n='N002'/>(AP)- The Peace Women of this <lb facs='#facs_80_r_5_1_tl_3' n='N003'/>turbulent British province take <lb facs='#facs_80_r_5_1_tl_4' n='N004'/>to the streets of violence-scarred <lb facs='#facs_80_r_5_1_tl_5' n='N005'/>Belfast Saturday, defying <lb facs='#facs_80_r_5_1_tl_6' n='N006'/>terrorist death threats in their <lb facs='#facs_80_r_5_1_tl_7' n='N007'/>campaign to end seven years of <lb facs='#facs_80_r_5_1_tl_8' n='N008'/>sectarian bloodshed <lb facs='#facs_80_r_5_1_tl_9' n='N009'/>“There’s no way we’re going <lb facs='#facs_80_r_5_1_tl_10' n='N010'/>to give up now,” declared Mrs. <lb facs='#facs_80_r_5_1_tl_11' n='N011'/>Betty Williams, the Roman <lb facs='#facs_80_r_5_1_tl_12' n='N012'/>Catholic housewife <lb facs='#facs_80_r_5_1_tl_13' n='N013'/>launched the burgeoning <lb facs='#facs_80_r_5_1_tl_14' n='N014'/>movement 10 days ago after <lb facs='#facs_80_r_5_1_tl_15' n='N015'/>three children were killed by <lb facs='#facs_80_r_5_1_tl_16' n='N016'/>Irish Republican Army gunmen <lb facs='#facs_80_r_5_1_tl_17' n='N017'/>fleeing British troops. <lb facs='#facs_80_r_5_1_tl_18' n='N018'/>Thousands of Catholic and <lb facs='#facs_80_r_5_1_tl_19' n='N019'/>Protestant women, setting aside <lb facs='#facs_80_r_5_1_tl_20' n='N020'/>the centuries-old hatreds that <lb facs='#facs_80_r_5_1_tl_21' n='N021'/>have separated Northern <lb facs='#facs_80_r_5_1_tl_22' n='N022'/>freland’s feuding communities, <lb facs='#facs_80_r_5_1_tl_23' n='N023'/>were expected to gather for a <lb facs='#facs_80_r_5_1_tl_24' n='N024'/>rally in Ormeau park in <lb facs='#facs_80_r_5_1_tl_25' n='N025'/>Protestant East Belfast <lb facs='#facs_80_r_5_1_tl_26' n='N026'/>The attendance at the rally <lb facs='#facs_80_r_5_1_tl_27' n='N027'/>will be a crucial test of the <lb facs='#facs_80_r_5_1_tl_28' n='N028'/>strength of the campaign, the <lb facs='#facs_80_r_5_1_tl_29' n='N029'/>latest in a long string of peace <lb facs='#facs_80_r_5_1_tl_30' n='N030'/>movements in Ulster. All the <lb facs='#facs_80_r_5_1_tl_31' n='N031'/>earlier campaigns fizzled out <lb facs='#facs_80_r_5_1_tl_32' n='N032'/>Last Saturday, more than </p> <p> <lb facs='#facs_80_r_6_1_tl_1' n='N001'/>10,000 women and a handful of <lb facs='#facs_80_r_6_1_tl_2' n='N002'/>men attended a peace rally <lb facs='#facs_80_r_6_1_tl_3' n='N003'/>organized by Mrs. Williams in <lb facs='#facs_80_r_6_1_tl_4' n='N004'/>Belfast’s staunchly Catholic <lb facs='#facs_80_r_6_1_tl_5' n='N005'/>Andersonstown suburb at the <lb facs='#facs_80_r_6_1_tl_6' n='N006'/>spot where the three children <lb facs='#facs_80_r_6_1_tl_7' n='N007'/>were slain. <lb facs='#facs_80_r_6_1_tl_8' n='N008'/>Mrs. Williams, 32, and many <lb facs='#facs_80_r_6_1_tl_9' n='N009'/>other Catholic women at that <lb facs='#facs_80_r_6_1_tl_10' n='N010'/>rally were branded “touts <lb facs='#facs_80_r_6_1_tl_11' n='N011'/>terrorist parlance for informers <lb facs='#facs_80_r_6_1_tl_12' n='N012'/>and pro-British collaborators - <lb facs='#facs_80_r_6_1_tl_13' n='N013'/>by the IRA’s “Provisional <lb facs='#facs_80_r_6_1_tl_14' n='N014'/>wing <lb facs='#facs_80_r_6_1_tl_15' n='N015'/>Young IRA supporters last <lb facs='#facs_80_r_6_1_tl_16' n='N016'/>week tried to burn Mrs. <lb facs='#facs_80_r_6_1_tl_17' n='N017'/>Williams’ house down. She and <lb facs='#facs_80_r_6_1_tl_18' n='N018'/>other women received death <lb facs='#facs_80_r_6_1_tl_19' n='N019'/>threats from the mainly <lb facs='#facs_80_r_6_1_tl_20' n='N020'/>Catholic “provos” who are <lb facs='#facs_80_r_6_1_tl_21' n='N021'/>fighting to end British rule and <lb facs='#facs_80_r_6_1_tl_22' n='N022'/>Protestant domination in Ulster <lb facs='#facs_80_r_6_1_tl_23' n='N023'/>Despite the threats, the peace <lb facs='#facs_80_r_6_1_tl_24' n='N024'/>movement has spread. <lb facs='#facs_80_r_6_1_tl_25' n='N025'/>Williams said groups in other <lb facs='#facs_80_r_6_1_tl_26' n='N026'/>parts of the province have <lb facs='#facs_80_r_6_1_tl_27' n='N027'/>voiced support and local peace <lb facs='#facs_80_r_6_1_tl_28' n='N028'/>committees have sprung up in <lb facs='#facs_80_r_6_1_tl_29' n='N029'/>both Catholic and Protestant <lb facs='#facs_80_r_6_1_tl_30' n='N030'/>quarters <lb facs='#facs_80_r_6_1_tl_31' n='N031'/>But the violence has continued <lb facs='#facs_80_r_6_1_tl_32' n='N032'/>unabated. At least six persons </p> <p> <lb facs='#facs_80_r_7_1_tl_1' n='N001'/>have been killed since the peace <lb facs='#facs_80_r_7_1_tl_2' n='N002'/>campaign began and dozens <lb facs='#facs_80_r_7_1_tl_3' n='N003'/>have been wounded by gunfire <lb facs='#facs_80_r_7_1_tl_4' n='N004'/>and bombings <lb facs='#facs_80_r_7_1_tl_5' n='N005'/>Government <lb facs='#facs_80_r_7_1_tl_6' n='N006'/>officials <lb facs='#facs_80_r_7_1_tl_7' n='N007'/>community <lb facs='#facs_80_r_7_1_tl_8' n='N008'/>leaders <lb facs='#facs_80_r_7_1_tl_9' n='N009'/>experienced observers who have <lb facs='#facs_80_r_7_1_tl_10' n='N010'/>seen earlier movements fail are <lb facs='#facs_80_r_7_1_tl_11' n='N011'/>still sceptical that Mrs. <lb facs='#facs_80_r_7_1_tl_12' n='N012'/>Williams campaign will change <lb facs='#facs_80_r_7_1_tl_13' n='N013'/>anything. <lb facs='#facs_80_r_7_1_tl_14' n='N014'/>The sad truth is <lb facs='#facs_80_r_7_1_tl_15' n='N015'/>said <lb facs='#facs_80_r_7_1_tl_16' n='N016'/>Catholic community leader Tom <lb facs='#facs_80_r_7_1_tl_17' n='N017'/>Conaty, a onetime adviser to the <lb facs='#facs_80_r_7_1_tl_18' n='N018'/>British administration in the <lb facs='#facs_80_r_7_1_tl_19' n='N019'/>province, “that the IRA and the <lb facs='#facs_80_r_7_1_tl_20' n='N020'/>Protestant paramilitary groups <lb facs='#facs_80_r_7_1_tl_21' n='N021'/>do not depend on popular <lb facs='#facs_80_r_7_1_tl_22' n='N022'/>support for their survival <lb facs='#facs_80_r_7_1_tl_23' n='N023'/>“They have shown this in the <lb facs='#facs_80_r_7_1_tl_24' n='N024'/>past and, despite <lb facs='#facs_80_r_7_1_tl_25' n='N025'/>courageous display by <lb facs='#facs_80_r_7_1_tl_26' n='N026'/>women, I believe they will be <lb facs='#facs_80_r_7_1_tl_27' n='N027'/>around for a long time. <lb facs='#facs_80_r_7_1_tl_28' n='N028'/>However, IRA sources said <lb facs='#facs_80_r_7_1_tl_29' n='N029'/>the guerrillas' leaders are <lb facs='#facs_80_r_7_1_tl_30' n='N030'/>taking the emotion-charged <lb facs='#facs_80_r_7_1_tl_31' n='N031'/>campaign “seriously. <lb facs='#facs_80_r_7_1_tl_32' n='N032'/>provisionals have cracked up <lb facs='#facs_80_r_7_1_tl_33' n='N033'/>their well-oiled propaganda <lb facs='#facs_80_r_7_1_tl_34' n='N034'/>machine in a bid to counter the <lb facs='#facs_80_r_7_1_tl_35' n='N035'/>movement’s growing support. </p> <p> <lb facs='#facs_80_r_8_1_tl_1' n='N001'/>The Republican news, the <lb facs='#facs_80_r_8_1_tl_2' n='N002'/>provisionals' mouthpiece in <lb facs='#facs_80_r_8_1_tl_3' n='N003'/>Ulster, Friday vowed: “the <lb facs='#facs_80_r_8_1_tl_4' n='N004'/>struggle goes on.” The headline <lb facs='#facs_80_r_8_1_tl_5' n='N005'/>was printed over a big photo of a <lb facs='#facs_80_r_8_1_tl_6' n='N006'/>hooded <lb facs='#facs_80_r_8_1_tl_7' n='N007'/>gunman <lb facs='#facs_80_r_8_1_tl_8' n='N008'/>brandishing a U.S. <lb facs='#facs_80_r_8_1_tl_9' n='N009'/>made <lb facs='#facs_80_r_8_1_tl_10' n='N010'/>armalite automatic rifle <lb facs='#facs_80_r_8_1_tl_11' n='N011'/>The Andersonstown news, a <lb facs='#facs_80_r_8_1_tl_12' n='N012'/>flourishing newssheet that has <lb facs='#facs_80_r_8_1_tl_13' n='N013'/>supported the provisionals in the <lb facs='#facs_80_r_8_1_tl_14' n='N014'/>past, stridently attacked the <lb facs='#facs_80_r_8_1_tl_15' n='N015'/>peace-at-any-price brigade. <lb facs='#facs_80_r_8_1_tl_16' n='N016'/>Both papers published articles <lb facs='#facs_80_r_8_1_tl_17' n='N017'/>and letters denouncing the <lb facs='#facs_80_r_8_1_tl_18' n='N018'/>peace campaign as pro-British. <lb facs='#facs_80_r_8_1_tl_19' n='N019'/>However <lb facs='#facs_80_r_8_1_tl_20' n='N020'/>Mrs. <lb facs='#facs_80_r_8_1_tl_21' n='N021'/>Williams <lb facs='#facs_80_r_8_1_tl_22' n='N022'/>stressed that her movement is <lb facs='#facs_80_r_8_1_tl_23' n='N023'/>not just opposed to the IRA, but <lb facs='#facs_80_r_8_1_tl_24' n='N024'/>Protestant <lb facs='#facs_80_r_8_1_tl_25' n='N025'/>terrorist <lb facs='#facs_80_r_8_1_tl_26' n='N026'/>organizations as well as Ulstei <lb facs='#facs_80_r_8_1_tl_27' n='N027'/>police officers and British troops <lb facs='#facs_80_r_8_1_tl_28' n='N028'/>who “commit cowardly acts. <lb facs='#facs_80_r_8_1_tl_29' n='N029'/>sympathizers <lb facs='#facs_80_r_8_1_tl_30' n='N030'/>Provisional <lb facs='#facs_80_r_8_1_tl_31' n='N031'/>have <lb facs='#facs_80_r_8_1_tl_32' n='N032'/>organized <lb facs='#facs_80_r_8_1_tl_33' n='N033'/>counter-demonstration in south <lb facs='#facs_80_r_8_1_tl_34' n='N034'/>Armagh, an IRA stronghold, at <lb facs='#facs_80_r_8_1_tl_35' n='N035'/>the spot where a 12-year-old <lb facs='#facs_80_r_8_1_tl_36' n='N036'/>Catholic girl was killed, <lb facs='#facs_80_r_8_1_tl_37' n='N037'/>apparently by army fire, last <lb facs='#facs_80_r_8_1_tl_38' n='N038'/>Saturday. </p> <pb n='81'/> <p> <lb facs='#facs_81_r_1_1_tl_1' n='N001'/>bistorically isolated from one another within a social structure <lb facs='#facs_81_r_1_1_tl_2' n='N002'/>over which they exercise minimal control. Within the context of <lb facs='#facs_81_r_1_1_tl_3' n='N003'/>American feminism, the questions posed by the peace movement <lb facs='#facs_81_r_1_1_tl_4' n='N004'/>are relevant to the extent to which they underline and elaborate <lb facs='#facs_81_r_1_1_tl_5' n='N005'/>some of the more complex issues pertaining to the gender bias <lb facs='#facs_81_r_1_1_tl_6' n='N006'/>inherent in the very “logic" of commonly accepted politica <lb facs='#facs_81_r_1_1_tl_7' n='N007'/>norms. As Michelle Zimbalist Rosaldo points out: <lb facs='#facs_81_r_1_1_tl_8' n='N008'/>Since women must work within a social system that ob- <lb facs='#facs_81_r_1_1_tl_9' n='N009'/>scures their goals and interests, they are apt to develop <lb facs='#facs_81_r_1_1_tl_10' n='N010'/>ways of seeing, feeling, and acting that seem to be "in <lb facs='#facs_81_r_1_1_tl_11' n='N011'/>tuitive” and "unsystematic"—with a sensitivity to other <lb facs='#facs_81_r_1_1_tl_12' n='N012'/>people that permits them to survive. They may, then, be <lb facs='#facs_81_r_1_1_tl_13' n='N013'/>"expressive." But it is important to realize that cultural <lb facs='#facs_81_r_1_1_tl_14' n='N014'/>stereotypes order the observer’s own perceptions. It is <lb facs='#facs_81_r_1_1_tl_15' n='N015'/>because men enter the world of articulated social rela <lb facs='#facs_81_r_1_1_tl_16' n='N016'/>tions that they appear to us as intellectual, rational, or <lb facs='#facs_81_r_1_1_tl_17' n='N017'/>instrumental; and the fact that women are excluded <lb facs='#facs_81_r_1_1_tl_18' n='N018'/>from that world makes them seem to think and behave <lb facs='#facs_81_r_1_1_tl_19' n='N019'/>in another mode. </p> <p> <lb facs='#facs_81_r_3_1_tl_1' n='N001'/>The Province of Ulster was born in conflict. The partition of <lb facs='#facs_81_r_3_1_tl_2' n='N002'/>lreland was a highly artificial solution to an age-old problem. The <lb facs='#facs_81_r_3_1_tl_3' n='N003'/>question of whether the current crisis is a religious war, a class <lb facs='#facs_81_r_3_1_tl_4' n='N004'/>war, or a war of national liberation is in many ways a false one. It <lb facs='#facs_81_r_3_1_tl_5' n='N005'/>is all of these at once. The peculiar complexity of the situation <lb facs='#facs_81_r_3_1_tl_6' n='N006'/>stems from the fact that the political and religious identity of each <lb facs='#facs_81_r_3_1_tl_7' n='N007'/>community is coincident in broad terms, and it is with these poli <lb facs='#facs_81_r_3_1_tl_8' n='N008'/>tical and religious groups that individuals have from birth learned <lb facs='#facs_81_r_3_1_tl_9' n='N009'/>to define themselves. <lb facs='#facs_81_r_3_1_tl_10' n='N010'/>The sources of bigotry in Ireland as well as the mechanisms <lb facs='#facs_81_r_3_1_tl_11' n='N011'/>of its maintenance are ancient. In the Protestant community, <lb facs='#facs_81_r_3_1_tl_12' n='N012'/>patriotic songs and yearly festivals celebrate the siege of London <lb facs='#facs_81_r_3_1_tl_13' n='N013'/>derry and the assent of Protestant rule. These are matched in <lb facs='#facs_81_r_3_1_tl_14' n='N014'/>Catholic culture by a heritage which stresses the heroism and <lb facs='#facs_81_r_3_1_tl_15' n='N015'/>glory of national revolt as well as an almost mystical alliance <lb facs='#facs_81_r_3_1_tl_16' n='N016'/>with the church. According to the Irish Republican tradition to <lb facs='#facs_81_r_3_1_tl_17' n='N017'/>which the modern Provisionals are heir, “Ireland unfree shall <lb facs='#facs_81_r_3_1_tl_18' n='N018'/>never be at peace. <lb facs='#facs_81_r_3_1_tl_19' n='N019'/>The Catholic population in general has tended traditionally <lb facs='#facs_81_r_3_1_tl_20' n='N020'/>to identify with a united and independent Ireland and was in fact <lb facs='#facs_81_r_3_1_tl_21' n='N021'/>instrumental in winning support for the Home Rule Bill by which <lb facs='#facs_81_r_3_1_tl_22' n='N022'/>the Republic of Ireland was established in 1922. The Protestants, <lb facs='#facs_81_r_3_1_tl_23' n='N023'/>who form a minority within Ireland as a whole, had been success <lb facs='#facs_81_r_3_1_tl_24' n='N024'/>ful in their violent opposition to what they termed "the papist <lb facs='#facs_81_r_3_1_tl_25' n='N025'/>state, which led to Britain’s partition of Ireland in an attempt to <lb facs='#facs_81_r_3_1_tl_26' n='N026'/>pacify loyalist Protestants in the North. The long-term and <lb facs='#facs_81_r_3_1_tl_27' n='N027'/>blatant suprematism of the Protestants concentrated in Northern </p> <p> <lb facs='#facs_81_r_4_1_tl_1' n='N001'/>Ireland, their overt domination of political and civil institutions, <lb facs='#facs_81_r_4_1_tl_2' n='N002'/>is countered by a Republican commitment to “victory through <lb facs='#facs_81_r_4_1_tl_3' n='N003'/>physical force” — a form of patriotism which finds its most ex <lb facs='#facs_81_r_4_1_tl_4' n='N004'/>treme manifestation in the IRA tradition of blood sacrifice, in <lb facs='#facs_81_r_4_1_tl_5' n='N005'/>which each death only serves further to legitimize the unques <lb facs='#facs_81_r_4_1_tl_6' n='N006'/>tioned heroism and “justice” of the nationalist cause. <lb facs='#facs_81_r_4_1_tl_7' n='N007'/>With the outbreak of widespread and violent sectarian riot <lb facs='#facs_81_r_4_1_tl_8' n='N008'/>ing in 1969, the collapse of the repressive Protestant-controlled <lb facs='#facs_81_r_4_1_tl_9' n='N009'/>Stormont Government was achieved only through the further <lb facs='#facs_81_r_4_1_tl_10' n='N010'/>intervention of the British, “justified" at the time by continuing <lb facs='#facs_81_r_4_1_tl_11' n='N011'/>paramilitary violence and the threat of civil war. This was to <lb facs='#facs_81_r_4_1_tl_12' n='N012'/>mark the beginning of a period of intense segregation and eco <lb facs='#facs_81_r_4_1_tl_13' n='N013'/>nomic disintegration in Northern Ireland, during which a climate <lb facs='#facs_81_r_4_1_tl_14' n='N014'/>of hostility, combined with a complete lack of dialogue and a <lb facs='#facs_81_r_4_1_tl_15' n='N015'/>military standoff, has made the possibility of further political and <lb facs='#facs_81_r_4_1_tl_16' n='N016'/>social development virtually impossible. <lb facs='#facs_81_r_4_1_tl_17' n='N017'/>When the IRA split in 1969, the Official IRA (increasingly <lb facs='#facs_81_r_4_1_tl_18' n='N018'/>concerned with developing economic and class consciousness) <lb facs='#facs_81_r_4_1_tl_19' n='N019'/>apparently dwindled in effectiveness. The "Provisionals, on the <lb facs='#facs_81_r_4_1_tl_20' n='N020'/>other hand, with their more traditional focus on militarism and <lb facs='#facs_81_r_4_1_tl_21' n='N021'/>nationalism, were able to take advantage of the already tense <lb facs='#facs_81_r_4_1_tl_22' n='N022'/>political climate, playing into and further aggravating sectarian <lb facs='#facs_81_r_4_1_tl_23' n='N023'/>hostilities. They became self-appointed "people’s protectors,” like <lb facs='#facs_81_r_4_1_tl_24' n='N024'/>the Protestant paramilitaries in their own districts. The British <lb facs='#facs_81_r_4_1_tl_25' n='N025'/>policy of internment and torture of IRA militants only served to <lb facs='#facs_81_r_4_1_tl_26' n='N026'/>further escalate guerrilla activities. The vicious circle was com <lb facs='#facs_81_r_4_1_tl_27' n='N027'/>plete. <lb facs='#facs_81_r_4_1_tl_28' n='N028'/>During the last seven years, continued paramilitary and mili <lb facs='#facs_81_r_4_1_tl_29' n='N029'/>tary violence have all but wrecked large sections of both the resi <lb facs='#facs_81_r_4_1_tl_30' n='N030'/>dential and commercial areas of Belfast, Derry and Armagh. <lb facs='#facs_81_r_4_1_tl_31' n='N031'/>Industry has declined and unemployment is soaring. Meanwhile, <lb facs='#facs_81_r_4_1_tl_32' n='N032'/>among the general population, apathy, fear, frustration and <lb facs='#facs_81_r_4_1_tl_33' n='N033'/>poverty have begun to flourish. Amid invariably righteous claims <lb facs='#facs_81_r_4_1_tl_34' n='N034'/>to the representation of “justice, hatred and despair have in <lb facs='#facs_81_r_4_1_tl_35' n='N035'/>creasingly come to dominate “political" life in the Northern State. <lb facs='#facs_81_r_4_1_tl_36' n='N036'/>While numerous "brave and valiant" soldiers have lost their lives, <lb facs='#facs_81_r_4_1_tl_37' n='N037'/>countless ordinary citizens, often women and children, have also <lb facs='#facs_81_r_4_1_tl_38' n='N038'/>been the victims of this ancient and unending cycle of fear, <lb facs='#facs_81_r_4_1_tl_39' n='N039'/>recrimination and violence. The deaths of the three McGuire chil <lb facs='#facs_81_r_4_1_tl_40' n='N040'/>dren, killed on August 10 by an IRA getaway car in Belfast's <lb facs='#facs_81_r_4_1_tl_41' n='N041'/>Andersontown district, were just another "accident." It was, how- <lb facs='#facs_81_r_4_1_tl_42' n='N042'/>ever, to have a resounding effect. Betty Williams, an Anderson <lb facs='#facs_81_r_4_1_tl_43' n='N043'/>town resident who had witnessed the incident, and Mairead <lb facs='#facs_81_r_4_1_tl_44' n='N044'/>Corrigan, the children’s aunt, “had had enough." Within hours <lb facs='#facs_81_r_4_1_tl_45' n='N045'/>they began organizing their neighbors to protest the senseless <lb facs='#facs_81_r_4_1_tl_46' n='N046'/>violence of a war which had long since become a way of life. <lb facs='#facs_81_r_4_1_tl_47' n='N047'/>The peace movement was from the start fueled by an emo <lb facs='#facs_81_r_4_1_tl_48' n='N048'/>tional commitment which was not without its own particular <lb facs='#facs_81_r_4_1_tl_49' n='N049'/>rationality. To the skeptics who denied the possibility of a peace- <lb facs='#facs_81_r_4_1_tl_50' n='N050'/>ful resolution to a feud stemming from deeply ingrained attitudes <lb facs='#facs_81_r_4_1_tl_51' n='N051'/>and opposing loyalties, the women replied that three hundred <lb facs='#facs_81_r_4_1_tl_52' n='N052'/>years of warfare had likewise accomplished nothing, that the <lb facs='#facs_81_r_4_1_tl_53' n='N053'/>Northern Irish people had been for too long divided against them- <lb facs='#facs_81_r_4_1_tl_54' n='N054'/>selves. <lb facs='#facs_81_r_4_1_tl_55' n='N055'/>Thank God l’m still angry enough to do this, because <lb facs='#facs_81_r_4_1_tl_56' n='N056'/>l’d march anywhere in Northern Ireland. I don’t give <lb facs='#facs_81_r_4_1_tl_57' n='N057'/>a darn what the fellow’s beliefs are. Everybody has <lb facs='#facs_81_r_4_1_tl_58' n='N058'/>got a right to believe in exactly what they want to be- <lb facs='#facs_81_r_4_1_tl_59' n='N059'/>lieve in, but there is no one in this whole wide world has <lb facs='#facs_81_r_4_1_tl_60' n='N060'/>any right to kill for it. So, when l’d seen the children die <lb facs='#facs_81_r_4_1_tl_61' n='N061'/>or the awful accident—my daughter also witnessed this <lb facs='#facs_81_r_4_1_tl_62' n='N062'/>—she has screamed about it since, my five-year-old <lb facs='#facs_81_r_4_1_tl_63' n='N063'/>daughter who was unfortunately in the car with me at </p> <pb n='82'/> <p> <lb facs='#facs_82_r_1_1_tl_1' n='N001'/>the time—I went home and sat down. Did you ever get <lb facs='#facs_82_r_1_1_tl_2' n='N002'/>sick inside, so sick that you didn’t even know what was <lb facs='#facs_82_r_1_1_tl_3' n='N003'/>wrong with you? I couldn’t cook a dinner. I couldn’t <lb facs='#facs_82_r_1_1_tl_4' n='N004'/>think straight. I couldn’t even cry, and as the night went <lb facs='#facs_82_r_1_1_tl_5' n='N005'/>on I got angrier and angrier. And my sister came up <lb facs='#facs_82_r_1_1_tl_6' n='N006'/>She lives quite close to where I live, and I had a cousin <lb facs='#facs_82_r_1_1_tl_7' n='N007'/>in the house at the time. And I just said—and I don't <lb facs='#facs_82_r_1_1_tl_8' n='N008'/>mean to swear, l’m very sorry—I said, "Damn it, we <lb facs='#facs_82_r_1_1_tl_9' n='N009'/>have got to do something. And my husband was at sea, <lb facs='#facs_82_r_1_1_tl_10' n='N010'/>and I an air-mail writing pad, and I went right <lb facs='#facs_82_r_1_1_tl_11' n='N011'/>up into the heart of provisional IRA territory in Ander <lb facs='#facs_82_r_1_1_tl_12' n='N012'/>sontown and I didn’t knock at that door very nicely, by <lb facs='#facs_82_r_1_1_tl_13' n='N013'/>the way, I didn’t say, "Excuse me. Would you like to <lb facs='#facs_82_r_1_1_tl_14' n='N014'/>sign this? We all want peace." I was spitting angry, and I <lb facs='#facs_82_r_1_1_tl_15' n='N015'/>banged the woman’s door and she came. I frightened the <lb facs='#facs_82_r_1_1_tl_16' n='N016'/>life out of her. I really did. <lb facs='#facs_82_r_1_1_tl_17' n='N017'/>When she came out, I said, “Do you want peace?" She <lb facs='#facs_82_r_1_1_tl_18' n='N018'/>said "Yes! <lb facs='#facs_82_r_1_1_tl_19' n='N019'/>"Yes, then sign that." It sort of started off like that, <lb facs='#facs_82_r_1_1_tl_20' n='N020'/>and it went on...further down the street, every door <lb facs='#facs_82_r_1_1_tl_21' n='N021'/>you knocked. All the women felt that way. I just lifted <lb facs='#facs_82_r_1_1_tl_22' n='N022'/>the lid. They all poured out. I mean, I ended up rather <lb facs='#facs_82_r_1_1_tl_23' n='N023'/>like the Pied Piper of Hamlin because I had a hundred <lb facs='#facs_82_r_1_1_tl_24' n='N024'/>women in provie territory collecting signatures for <lb facs='#facs_82_r_1_1_tl_25' n='N025'/>peace. <lb facs='#facs_82_r_1_1_tl_26' n='N026'/>We had 3,000 or 6,000 signatures in three hours. We <lb facs='#facs_82_r_1_1_tl_27' n='N027'/>went back to my home. They were in the lounge. They <lb facs='#facs_82_r_1_1_tl_28' n='N028'/>were in the living room. They were in the kitchen. They <lb facs='#facs_82_r_1_1_tl_29' n='N029'/>were in the hall. They were lined up the stairs. They <lb facs='#facs_82_r_1_1_tl_30' n='N030'/>were in the bathroom, the two bedrooms. There just <lb facs='#facs_82_r_1_1_tl_31' n='N031'/>wasn’t enough room to hold them all, and they were all <lb facs='#facs_82_r_1_1_tl_32' n='N032'/>just as angry as I was...that we had let this go on for so <lb facs='#facs_82_r_1_1_tl_33' n='N033'/>long. <lb facs='#facs_82_r_1_1_tl_34' n='N034'/>(Betty Williams4 </p> <p> <lb facs='#facs_82_r_2_1_tl_1' n='N001'/>You see, unfortunately, in a long time in Northern <lb facs='#facs_82_r_2_1_tl_2' n='N002'/>Irish society and, indeed, in the world we have glorified <lb facs='#facs_82_r_2_1_tl_3' n='N003'/>the man with the guns. Do you know we sit in our clubs <lb facs='#facs_82_r_2_1_tl_4' n='N004'/>and we sing about the brave man who took life? Now, <lb facs='#facs_82_r_2_1_tl_5' n='N005'/>we’re going to say in Northern Ireland, we want a com <lb facs='#facs_82_r_2_1_tl_6' n='N006'/>plete new change of society. The hero in Northern Ire <lb facs='#facs_82_r_2_1_tl_7' n='N007'/>land is going to be the guy who stands up against the <lb facs='#facs_82_r_2_1_tl_8' n='N008'/>man with a gun in his hand and said, "You’re not speak <lb facs='#facs_82_r_2_1_tl_9' n='N009'/>ing for me. I haven’t got a gun. l’m not prepared to take <lb facs='#facs_82_r_2_1_tl_10' n='N010'/>your life, but you’re most certainly not speaking for me. <lb facs='#facs_82_r_2_1_tl_11' n='N011'/>The guy who gets involved with the man next door, <lb facs='#facs_82_r_2_1_tl_12' n='N012'/>with the old-age pensioner; the guy who recognizes the <lb facs='#facs_82_r_2_1_tl_13' n='N013'/>Protestant and the Shankhill to be his brother or the <lb facs='#facs_82_r_2_1_tl_14' n='N014'/>black man across the road to be his brother. The man, </p> <p> <lb facs='#facs_82_r_6_1_tl_1' n='N001'/>who, in society, acknowledges his brother. ..the man <lb facs='#facs_82_r_6_1_tl_2' n='N002'/>next door to be his brother. This is the kind of whole <lb facs='#facs_82_r_6_1_tl_3' n='N003'/>new society that we want to create in Northern Ireland, <lb facs='#facs_82_r_6_1_tl_4' n='N004'/>Indeed, we want to say that we have led the world in <lb facs='#facs_82_r_6_1_tl_5' n='N005'/>guerrilla warfare for years; we are going to lead the war <lb facs='#facs_82_r_6_1_tl_6' n='N006'/>in peace and we say to the people of the world, “Watch <lb facs='#facs_82_r_6_1_tl_7' n='N007'/>us." Because we are going to do it, and not only watch <lb facs='#facs_82_r_6_1_tl_8' n='N008'/>us but imitate us because the whole world is led by vio <lb facs='#facs_82_r_6_1_tl_9' n='N009'/>lence and it doesn’t pay. One thousand six hundred <lb facs='#facs_82_r_6_1_tl_10' n='N010'/>people dead in Northern Ireland. <lb facs='#facs_82_r_6_1_tl_11' n='N011'/>My sister was lying in a hospital after losing three <lb facs='#facs_82_r_6_1_tl_12' n='N012'/>babies, and do you know her major concern? There was <lb facs='#facs_82_r_6_1_tl_13' n='N013'/>a bomb the previous week in a bar where a guy had <lb facs='#facs_82_r_6_1_tl_14' n='N014'/>gone out to have a drink—and he was lying across the <lb facs='#facs_82_r_6_1_tl_15' n='N015'/>ward from her—one of those open plan wards, and he <lb facs='#facs_82_r_6_1_tl_16' n='N016'/>had no legs, seventeen years of age—he had no legs and <lb facs='#facs_82_r_6_1_tl_17' n='N017'/>he kept squealing all day, "Please take my hands off. My <lb facs='#facs_82_r_6_1_tl_18' n='N018'/>hands hurt so much." That is only one awful incident of <lb facs='#facs_82_r_6_1_tl_19' n='N019'/>what’s going on in Northern Ireland with guns coming <lb facs='#facs_82_r_6_1_tl_20' n='N020'/>into Northern Ireland. That’s got to stop. That’s no an <lb facs='#facs_82_r_6_1_tl_21' n='N021'/>swer, but to the gunman we say, "We acknowledge that <lb facs='#facs_82_r_6_1_tl_22' n='N022'/>the gunman in Northern Ireland has taken guns perhaps <lb facs='#facs_82_r_6_1_tl_23' n='N023'/>because of their political ideals, perhaps because they <lb facs='#facs_82_r_6_1_tl_24' n='N024'/>were never offered a way, but there’s a new way. There’s <lb facs='#facs_82_r_6_1_tl_25' n='N025'/>another way, and we say to them, "Put up your guns, <lb facs='#facs_82_r_6_1_tl_26' n='N026'/>and if you really care for the people, come into society. <lb facs='#facs_82_r_6_1_tl_27' n='N027'/>Let’s talk about it." We’re not telling them to "get lost <lb facs='#facs_82_r_6_1_tl_28' n='N028'/>or go under the carpet because it’Il fester in thirty years, <lb facs='#facs_82_r_6_1_tl_29' n='N029'/>but let’s talk about it. Let’s hear what you are saying, <lb facs='#facs_82_r_6_1_tl_30' n='N030'/>but not by the gun. <lb facs='#facs_82_r_6_1_tl_31' n='N031'/>Mairead Corrigan 5) </p> <p> <lb facs='#facs_82_r_7_1_tl_1' n='N001'/>During the weeks that followed the initial demonstration at <lb facs='#facs_82_r_7_1_tl_2' n='N002'/>the site of the McGuire children’s death, Betty Williams and Mai <lb facs='#facs_82_r_7_1_tl_3' n='N003'/>read Corrigan continued to publicize the incident and organize <lb facs='#facs_82_r_7_1_tl_4' n='N004'/>for an all-out assault on violence. This took the form of massive <lb facs='#facs_82_r_7_1_tl_5' n='N005'/>demonstrations for peace. The first demonstration (August 14) <lb facs='#facs_82_r_7_1_tl_6' n='N006'/>drew 10,000 women, both Protestant and Catholic, to the Catho <lb facs='#facs_82_r_7_1_tl_7' n='N007'/>lic Andersontown district. Provo supporters jeered the rally and <lb facs='#facs_82_r_7_1_tl_8' n='N008'/>denounced Williams as a traitor, but she was not dissuaded and <lb facs='#facs_82_r_7_1_tl_9' n='N009'/>the following week brought 20,000 people together in one of Bel <lb facs='#facs_82_r_7_1_tl_10' n='N010'/>fast’s few remaining “mixed" neighborhoods. The third weekend <lb facs='#facs_82_r_7_1_tl_11' n='N011'/>the peace movement returned to the hard-core Protestant Shan- <lb facs='#facs_82_r_7_1_tl_12' n='N012'/>kill Road area where close to 30,000 demonstrators showed up. <lb facs='#facs_82_r_7_1_tl_13' n='N013'/>The fourth rally was held in Derry, Ulster’s second largest city, <lb facs='#facs_82_r_7_1_tl_14' n='N014'/>on Craigavon Bridge, which connects the Protestant and Catho- <lb facs='#facs_82_r_7_1_tl_15' n='N015'/>lic sections of town. Again approximately 30,000 people turned <lb facs='#facs_82_r_7_1_tl_16' n='N016'/>out. By this time the Provos were saying that they did not oppose <lb facs='#facs_82_r_7_1_tl_17' n='N017'/>the peace movement, but supported “Peace with justice." Mean- <lb facs='#facs_82_r_7_1_tl_18' n='N018'/>while, in Dublin, the capital of the Irish Republic, a march by <lb facs='#facs_82_r_7_1_tl_19' n='N019'/>20,000 was organized in support and smaller marches were held <lb facs='#facs_82_r_7_1_tl_20' n='N020'/>in Corm, Galway, Carlon and Castlebar. <lb facs='#facs_82_r_7_1_tl_21' n='N021'/>The unexpected popularity and energetic style of these initial <lb facs='#facs_82_r_7_1_tl_22' n='N022'/>marches contributed to their dramatic impact. Both support and <lb facs='#facs_82_r_7_1_tl_23' n='N023'/>criticism abounded. Within weeks of the first rally, smaller com <lb facs='#facs_82_r_7_1_tl_24' n='N024'/>munity "peace” groups began to spring up throughout the pro <lb facs='#facs_82_r_7_1_tl_25' n='N025'/>vince, with no apparent orientation other than a commitment to <lb facs='#facs_82_r_7_1_tl_26' n='N026'/>peace, to furthering dialogue within the community and to con <lb facs='#facs_82_r_7_1_tl_27' n='N027'/>structive non-sectarian local action. <lb facs='#facs_82_r_7_1_tl_28' n='N028'/>Provisional "support," however, was to prove short-lived. <lb facs='#facs_82_r_7_1_tl_29' n='N029'/>The weekly marches were disrupted on October 2 by small IRA <lb facs='#facs_82_r_7_1_tl_30' n='N030'/>counter-marches in which several of the peace marchers were <lb facs='#facs_82_r_7_1_tl_31' n='N031'/>assaulted. Death threats against Betty and Mairead were occa <lb facs='#facs_82_r_7_1_tl_32' n='N032'/>sionally found scrawled on Belfast walls. The Provos, claiming <lb facs='#facs_82_r_7_1_tl_33' n='N033'/>that there had been an increase in British army raids, arrests and <lb facs='#facs_82_r_7_1_tl_34' n='N034'/>harassment, issued a statement warning that if any women from <lb facs='#facs_82_r_7_1_tl_35' n='N035'/>the peace movement cooperated with security forces, they would <lb facs='#facs_82_r_7_1_tl_36' n='N036'/>be treated as informers and shot. </p> <pb n='83'/> <p> <lb facs='#facs_83_r_1_1_tl_1' n='N001'/>From the onset there has been confusion in the press about <lb facs='#facs_83_r_1_1_tl_2' n='N002'/>the attitude of the peace marchers toward the British and the RUC <lb facs='#facs_83_r_1_1_tl_3' n='N003'/>(Royal Ulster Constabulary — the “legitimate” police who have <lb facs='#facs_83_r_1_1_tl_4' n='N004'/>been theoretically neutral but effectively on the side of the Pro <lb facs='#facs_83_r_1_1_tl_5' n='N005'/>testants). While the peace leaders have been extremely outspoken <lb facs='#facs_83_r_1_1_tl_6' n='N006'/>in their criticism of the Provisionals and of the UDA and the UVF <lb facs='#facs_83_r_1_1_tl_7' n='N007'/>(Ulster Defense Association and Ulster Volunteer Force, the Pro <lb facs='#facs_83_r_1_1_tl_8' n='N008'/>testant paramilitary equivalents of the Provisional IRA), they <lb facs='#facs_83_r_1_1_tl_9' n='N009'/>have been less direct in their denunciation of the British and of the <lb facs='#facs_83_r_1_1_tl_10' n='N010'/>legitimate" Ulster security forces. Though they have consistently <lb facs='#facs_83_r_1_1_tl_11' n='N011'/>condemned all “men of violence, their position on “legal” mili <lb facs='#facs_83_r_1_1_tl_12' n='N012'/>tary forces is more ambiguous. While this is a crucial issue and <lb facs='#facs_83_r_1_1_tl_13' n='N013'/>one on which the peace leaders are perhaps most vulnerable to <lb facs='#facs_83_r_1_1_tl_14' n='N014'/>criticism, IRA supporters have consistently twisted its signifi <lb facs='#facs_83_r_1_1_tl_15' n='N015'/>cance to imply that they are pro-British — unlikely, as the move <lb facs='#facs_83_r_1_1_tl_16' n='N016'/>ment is both Catholic-led and strongly backed by non-violent <lb facs='#facs_83_r_1_1_tl_17' n='N017'/>Catholic Nationalists. There is in fact a simple and rational ex <lb facs='#facs_83_r_1_1_tl_18' n='N018'/>planation for their hedging on the question of British interven <lb facs='#facs_83_r_1_1_tl_19' n='N019'/>tion. Since one of the main thrusts of the movement is its anti <lb facs='#facs_83_r_1_1_tl_20' n='N020'/>sectarian character, and since it is the first major popular grass <lb facs='#facs_83_r_1_1_tl_21' n='N021'/>roots movement uniting both Catholics and Protestants, its very <lb facs='#facs_83_r_1_1_tl_22' n='N022'/>existence is dependent on widespread support from both camps. <lb facs='#facs_83_r_1_1_tl_23' n='N023'/>The vast majority of Protestants (two-thirds of the population in <lb facs='#facs_83_r_1_1_tl_24' n='N024'/>Northern Ireland) for the most part do not favor British with <lb facs='#facs_83_r_1_1_tl_25' n='N025'/>drawal, and many Catholics, including the Official IRA Sinn <lb facs='#facs_83_r_1_1_tl_26' n='N026'/>Fein° do not advocate an immediate withdrawal, so that any <lb facs='#facs_83_r_1_1_tl_27' n='N027'/>public position in regard to either imperialism or British "secur <lb facs='#facs_83_r_1_1_tl_28' n='N028'/>ity" forces is indeed difficult and problematic. Due to this fact, as <lb facs='#facs_83_r_1_1_tl_29' n='N029'/>well as to the general diversity of political sentiment within the <lb facs='#facs_83_r_1_1_tl_30' n='N030'/>movement, the leaders have confined themselves to taking gen <lb facs='#facs_83_r_1_1_tl_31' n='N031'/>eral positions against violence, encouraging local initiative <lb facs='#facs_83_r_1_1_tl_32' n='N032'/>toward peace and speaking in very broad terms about the need <lb facs='#facs_83_r_1_1_tl_33' n='N033'/>for the "Northern Irish" people to resolve their own differences <lb facs='#facs_83_r_1_1_tl_34' n='N034'/>"from the bottom up. <lb facs='#facs_83_r_1_1_tl_35' n='N035'/>Although heavy criticism from both the Provisionals and <lb facs='#facs_83_r_1_1_tl_36' n='N036'/>extremist Protestant groups may have slightly affected the move <lb facs='#facs_83_r_1_1_tl_37' n='N037'/>ment’s popularity, demonstrations, rallies and meetings through- <lb facs='#facs_83_r_1_1_tl_38' n='N038'/>out the fall of 1976 continued to draw wide support. Several sup <lb facs='#facs_83_r_1_1_tl_39' n='N039'/>portive demonstrations were organized by feminist groups in <lb facs='#facs_83_r_1_1_tl_40' n='N040'/>Germany and the Netherlands; a rally in London on November <lb facs='#facs_83_r_1_1_tl_41' n='N041'/>28 drew a crowd of approximately 15,000. <lb facs='#facs_83_r_1_1_tl_42' n='N042'/>The movement now has a magazine (Peace by Peace), a <lb facs='#facs_83_r_1_1_tl_43' n='N043'/>small office in Belfast, and over 125 local groups “organizing for <lb facs='#facs_83_r_1_1_tl_44' n='N044'/>peace” in Northern Ireland. "Support,” however, is not what the <lb facs='#facs_83_r_1_1_tl_45' n='N045'/>movement is all about. In terms of opening up effective channels <lb facs='#facs_83_r_1_1_tl_46' n='N046'/>of discourse and creating a climate in which constructive non <lb facs='#facs_83_r_1_1_tl_47' n='N047'/>sectarian political development can occur, there is no way at <lb facs='#facs_83_r_1_1_tl_48' n='N048'/>present to estimate its success. <lb facs='#facs_83_r_1_1_tl_49' n='N049'/>The current peace movement is not the first of its kind in Ire <lb facs='#facs_83_r_1_1_tl_50' n='N050'/>land. Two others in the recent past have attempted to dispel sec <lb facs='#facs_83_r_1_1_tl_51' n='N051'/>tarian violence by non-violent and non-sectarian means. Both <lb facs='#facs_83_r_1_1_tl_52' n='N052'/>times they were eclipsed by British military escalations which ral <lb facs='#facs_83_r_1_1_tl_53' n='N053'/>lied Catholics to the IRA. In 1971, an organization called "Wom <lb facs='#facs_83_r_1_1_tl_54' n='N054'/>en Together” gained considerable support, but lost ground when <lb facs='#facs_83_r_1_1_tl_55' n='N055'/>the British introduced internment. Another movement sprang up <lb facs='#facs_83_r_1_1_tl_56' n='N056'/>in Derry in 1972. After a British soldier had killed a Catholic <lb facs='#facs_83_r_1_1_tl_57' n='N057'/>youth, the IRA "executed" a young man from Derry who had <lb facs='#facs_83_r_1_1_tl_58' n='N058'/>joined the British army. That was the last straw for Margaret <lb facs='#facs_83_r_1_1_tl_59' n='N059'/>Doherty, who organized her neighbors to demonstrate their <lb facs='#facs_83_r_1_1_tl_60' n='N060'/>anger. This was effective to the extent that the Official IRA de <lb facs='#facs_83_r_1_1_tl_61' n='N061'/>clared a cease-fire which they maintain to this day. The 1972 <lb facs='#facs_83_r_1_1_tl_62' n='N062'/>movement collapsed however, when the British invaded the </p> <p> <lb facs='#facs_83_r_2_1_tl_1' n='N001'/>Catholic no-go areas in what was known as “Operation Motor <lb facs='#facs_83_r_2_1_tl_2' n='N002'/>man. Once again the Provisionals were vindicated by British <lb facs='#facs_83_r_2_1_tl_3' n='N003'/>actions. With the rebirth of the peace forces this year, Margaret <lb facs='#facs_83_r_2_1_tl_4' n='N004'/>Doherty, who had been viciously harassed for her peace activities <lb facs='#facs_83_r_2_1_tl_5' n='N005'/>in 1972, again came forward and has participated in the organiza <lb facs='#facs_83_r_2_1_tl_6' n='N006'/>tion of the present campaign. <lb facs='#facs_83_r_2_1_tl_7' n='N007'/>Even these recent interventions on the part of women are not <lb facs='#facs_83_r_2_1_tl_8' n='N008'/>unique in Irish history. In 1921, during the struggle for Home <lb facs='#facs_83_r_2_1_tl_9' n='N009'/>Rule, the British section of the Women’s International League for <lb facs='#facs_83_r_2_1_tl_10' n='N010'/>Peace and Freedom, headed by Jane Addams, sent their own <lb facs='#facs_83_r_2_1_tl_11' n='N011'/>commission to study Irish self-rule, clearly opposing the interests <lb facs='#facs_83_r_2_1_tl_12' n='N012'/>of their own government. The Irish section of the WILPF, led by <lb facs='#facs_83_r_2_1_tl_13' n='N013'/>Louie Bennett, was active in organizing women to employ <lb facs='#facs_83_r_2_1_tl_14' n='N014'/>passive-resistance techniques in a struggle against the British. <lb facs='#facs_83_r_2_1_tl_15' n='N015'/>Their view as women was that human life was precious and that <lb facs='#facs_83_r_2_1_tl_16' n='N016'/>war was an outmoded way of dealing with imperialist rivalries. <lb facs='#facs_83_r_2_1_tl_17' n='N017'/>While the women supporters of the 1921 struggle were largely <lb facs='#facs_83_r_2_1_tl_18' n='N018'/>middle-class suffragettes organized internationally behind a paci- <lb facs='#facs_83_r_2_1_tl_19' n='N019'/>fist ideology, the current peace campaign is indigenous, widely <lb facs='#facs_83_r_2_1_tl_20' n='N020'/>supported by both middle- and working-class people, and rela <lb facs='#facs_83_r_2_1_tl_21' n='N021'/>tively "unorganized." <lb facs='#facs_83_r_2_1_tl_22' n='N022'/>The peace movement, as Bernadette Devlin has pointed out, <lb facs='#facs_83_r_2_1_tl_23' n='N023'/>is not a feminist movement. There is in fact virtually no feminism <lb facs='#facs_83_r_2_1_tl_24' n='N024'/>in Ireland in the sense in which we as Americans understand it. <lb facs='#facs_83_r_2_1_tl_25' n='N025'/>While there have been several notable female political activists in <lb facs='#facs_83_r_2_1_tl_26' n='N026'/>the Republican movement (Bernadette Devlin, now associated <lb facs='#facs_83_r_2_1_tl_27' n='N027'/>with the Irish Republican Socialist Party, Marin de Burca, joint <lb facs='#facs_83_r_2_1_tl_28' n='N028'/>general secretary of Sinn Fein, and Maire Drumm, the recently <lb facs='#facs_83_r_2_1_tl_29' n='N029'/>assassinated Provisional IRA spokeswoman), the vast majority of <lb facs='#facs_83_r_2_1_tl_30' n='N030'/>Irish women, oppressed as they are by poverty, war, extremely <lb facs='#facs_83_r_2_1_tl_31' n='N031'/>discriminatory employment and pay practices, and perhaps most <lb facs='#facs_83_r_2_1_tl_32' n='N032'/>importantly, by a strong religious and patriarchal family struc <lb facs='#facs_83_r_2_1_tl_33' n='N033'/>ture, have, by and large, remained unorganized as women. <lb facs='#facs_83_r_2_1_tl_34' n='N034'/>For Catholic women, a very intense religious indoctrination <lb facs='#facs_83_r_2_1_tl_35' n='N035'/>which places a strict taboo on birth control, abortion and divorce <lb facs='#facs_83_r_2_1_tl_36' n='N036'/>is still a major obstacle. While as citizens of a Commonwealth <lb facs='#facs_83_r_2_1_tl_37' n='N037'/>nation, Northern Irish women are technically entitled to equal <lb facs='#facs_83_r_2_1_tl_38' n='N038'/>pay, and according to an anti-discrimination law passed at West <lb facs='#facs_83_r_2_1_tl_39' n='N039'/>minster in December 1976, they are protected against job dis <lb facs='#facs_83_r_2_1_tl_40' n='N040'/>crimination, the fact is that women’s employment opportunities <lb facs='#facs_83_r_2_1_tl_41' n='N041'/>lag far behind not only those of men, but behind those of most <lb facs='#facs_83_r_2_1_tl_42' n='N042'/>European women as well. While the legal status of Ulster women <lb facs='#facs_83_r_2_1_tl_43' n='N043'/>is superior to that of women in the Catholic Republic of Ireland <lb facs='#facs_83_r_2_1_tl_44' n='N044'/>where women still have almost no independent legal rights, a <lb facs='#facs_83_r_2_1_tl_45' n='N045'/>very strong patriarchal ideology still prevails throughout Ireland, <lb facs='#facs_83_r_2_1_tl_46' n='N046'/>and Northern Irish women are for the most part still politically <lb facs='#facs_83_r_2_1_tl_47' n='N047'/>subservient to their husbands as well as being educationally and <lb facs='#facs_83_r_2_1_tl_48' n='N048'/>economically disadvantaged. While these conditions can ulti <lb facs='#facs_83_r_2_1_tl_49' n='N049'/>mately be traced to the relatively low level of industrial and eco <lb facs='#facs_83_r_2_1_tl_50' n='N050'/>nomic development of Ireland as a whole, and to the powerful <lb facs='#facs_83_r_2_1_tl_51' n='N051'/>religious infrastructure, they do underline some of the reasons <lb facs='#facs_83_r_2_1_tl_52' n='N052'/>why feminism has failed to develop, as well as the crucial impor <lb facs='#facs_83_r_2_1_tl_53' n='N053'/>tance of independent women’s organizations. <lb facs='#facs_83_r_2_1_tl_54' n='N054'/>How then can we evaluate the effectiveness of the peace <lb facs='#facs_83_r_2_1_tl_55' n='N055'/>movement from a feminist perspective? While its prevailing atti <lb facs='#facs_83_r_2_1_tl_56' n='N056'/>tudes are traditional, in that they are not activist from a feminist <lb facs='#facs_83_r_2_1_tl_57' n='N057'/>or socialist perspective, the movement does potentially represent <lb facs='#facs_83_r_2_1_tl_58' n='N058'/>an important step forward in both of these directions. The self <lb facs='#facs_83_r_2_1_tl_59' n='N059'/>initiated emergence into the political sphere of a large sector of <lb facs='#facs_83_r_2_1_tl_60' n='N060'/>the female population which has heretofore remained inactive, or <lb facs='#facs_83_r_2_1_tl_61' n='N061'/>at best has existed in an exclusively supportive role in relation to <lb facs='#facs_83_r_2_1_tl_62' n='N062'/>those very male modes of political activity which they are now so <lb facs='#facs_83_r_2_1_tl_63' n='N063'/>explicitly criticizing, is not without significance to the develop <lb facs='#facs_83_r_2_1_tl_64' n='N064'/>ment of either. </p> <pb n='84'/> <p> <lb facs='#facs_84_r_1_1_tl_1' n='N001'/>The rallies do help to get rid of a certain amount of <lb facs='#facs_84_r_1_1_tl_2' n='N002'/>fear. You are going to such-and-such a place and at one <lb facs='#facs_84_r_1_1_tl_3' n='N003'/>time you would have been frightened to go there. But at <lb facs='#facs_84_r_1_1_tl_4' n='N004'/>the rally you’re a bit frightened but you just go on. Each <lb facs='#facs_84_r_1_1_tl_5' n='N005'/>time you come back from a rally, you have more cour <lb facs='#facs_84_r_1_1_tl_6' n='N006'/>age to keep going. It’s because you’re meeting with <lb facs='#facs_84_r_1_1_tl_7' n='N007'/>people <lb facs='#facs_84_r_1_1_tl_8' n='N008'/>Let’s face it, for seven years we went about the city <lb facs='#facs_84_r_1_1_tl_9' n='N009'/>and sat in our homes, all the time wrapped up in our <lb facs='#facs_84_r_1_1_tl_10' n='N010'/>own family and our own home and our own constant <lb facs='#facs_84_r_1_1_tl_11' n='N011'/>worry that something would happen to them. You felt it <lb facs='#facs_84_r_1_1_tl_12' n='N012'/>was just yourself had all this worry. Going out to the <lb facs='#facs_84_r_1_1_tl_13' n='N013'/>rallies is making people realize that other people have <lb facs='#facs_84_r_1_1_tl_14' n='N014'/>the same fears and the same worries. We are able to talk <lb facs='#facs_84_r_1_1_tl_15' n='N015'/>to each other about it. It’s bringing a new closeness. <lb facs='#facs_84_r_1_1_tl_16' n='N016'/>JJune Campion, member of a local peace group in Knok <lb facs='#facs_84_r_1_1_tl_17' n='N017'/>nagoney' <lb facs='#facs_84_r_1_1_tl_18' n='N018'/>It is also important to remember that the current peace <lb facs='#facs_84_r_1_1_tl_19' n='N019'/>movement is at present not a political organization; it is perhaps <lb facs='#facs_84_r_1_1_tl_20' n='N020'/>misleading to consider it as such. While plans for the future in <lb facs='#facs_84_r_1_1_tl_21' n='N021'/>clude meetings designed to develop a more explicit form of <lb facs='#facs_84_r_1_1_tl_22' n='N022'/>organization, the movement as yet has no formal structure and <lb facs='#facs_84_r_1_1_tl_23' n='N023'/>no official platform. It is a phenomenon that can accurately be <lb facs='#facs_84_r_1_1_tl_24' n='N024'/>termed "spontaneous” in that it has not been planned and the <lb facs='#facs_84_r_1_1_tl_25' n='N025'/>form it has taken to date can be regarded primarily as a demon <lb facs='#facs_84_r_1_1_tl_26' n='N026'/>stration of solidarity around a commitment to peace. <lb facs='#facs_84_r_1_1_tl_27' n='N027'/>The three most visible leaders at present are Betty Williams, <lb facs='#facs_84_r_1_1_tl_28' n='N028'/>Mairead Corrigan and Ciaran McKeown, a journalist who has <lb facs='#facs_84_r_1_1_tl_29' n='N029'/>given up his newspaper position to support the women in their <lb facs='#facs_84_r_1_1_tl_30' n='N030'/>struggle. The organizational network as a whole, however, is <lb facs='#facs_84_r_1_1_tl_31' n='N031'/>neither centralized nor highly controlled by those who are <lb facs='#facs_84_r_1_1_tl_32' n='N032'/>apparently most prominent. Indeed, there has been a consistent <lb facs='#facs_84_r_1_1_tl_33' n='N033'/>effort by all concerned to systematically locate the basis for par <lb facs='#facs_84_r_1_1_tl_34' n='N034'/>ticipation and direction within the numerous communities where <lb facs='#facs_84_r_1_1_tl_35' n='N035'/>peace groups have been emerging. <lb facs='#facs_84_r_1_1_tl_36' n='N036'/>While direct support for the movement is clearly widespread <lb facs='#facs_84_r_1_1_tl_37' n='N037'/>(estimates range from 170,000 to 250,000 people in Northern Ire <lb facs='#facs_84_r_1_1_tl_38' n='N038'/>land alone), it is extremely hard to gauge its size or class composi <lb facs='#facs_84_r_1_1_tl_39' n='N039'/>tion on the basis of mass rallies and demonstrations. When I criti <lb facs='#facs_84_r_1_1_tl_40' n='N040'/>cized the somewhat naive character of some of the statements by <lb facs='#facs_84_r_1_1_tl_41' n='N041'/>movement leaders, an American woman who had gone to North- <lb facs='#facs_84_r_1_1_tl_42' n='N042'/>ern Ireland to participate in one of their rallies told me that it was <lb facs='#facs_84_r_1_1_tl_43' n='N043'/>precisely this tone that contributed to the movement’s popularity <lb facs='#facs_84_r_1_1_tl_44' n='N044'/>among working-class women. It is certainly true that there has <lb facs='#facs_84_r_1_1_tl_45' n='N045'/>been a very deliberate attempt by the peace people to avoid direct <lb facs='#facs_84_r_1_1_tl_46' n='N046'/>affiliation with any specific political groups, and certain of the <lb facs='#facs_84_r_1_1_tl_47' n='N047'/>more politically “sophisticated" women supporters have delib <lb facs='#facs_84_r_1_1_tl_48' n='N048'/>erately remained in the background, not wishing to “take over’ <lb facs='#facs_84_r_1_1_tl_49' n='N049'/>or divert the movement from its primary focus, that is, bringing <lb facs='#facs_84_r_1_1_tl_50' n='N050'/>an end to violence and encouraging local initiative toward non <lb facs='#facs_84_r_1_1_tl_51' n='N051'/>sectarian community development. <lb facs='#facs_84_r_1_1_tl_52' n='N052'/>Marin de Burca, a socialist and leader of Sinn Fein (Official <lb facs='#facs_84_r_1_1_tl_53' n='N053'/>IRA) spoke of the peace movement in an interview during a re <lb facs='#facs_84_r_1_1_tl_54' n='N054'/>cent tour of the U.S.: “We go to the marches as individuals. It <lb facs='#facs_84_r_1_1_tl_55' n='N055'/>would be the kiss of death if we openly supported them. We have <lb facs='#facs_84_r_1_1_tl_56' n='N056'/>issued statements supporting them, but I don’t agree with trying <lb facs='#facs_84_r_1_1_tl_57' n='N057'/>to move in and take them over." <lb facs='#facs_84_r_1_1_tl_58' n='N058'/>De Burca believes that if the British withdrew the Provos <lb facs='#facs_84_r_1_1_tl_59' n='N059'/>would be politically undermined. She argues that unification of <lb facs='#facs_84_r_1_1_tl_60' n='N060'/>the country is still the solution but that it can be achieved only <lb facs='#facs_84_r_1_1_tl_61' n='N061'/>through unification of the various factions around initially mod <lb facs='#facs_84_r_1_1_tl_62' n='N062'/>est reforms. <lb facs='#facs_84_r_1_1_tl_63' n='N063'/>The demand for peace is not Marxist, but in the context <lb facs='#facs_84_r_1_1_tl_64' n='N064'/>of Northern Ireland it is very revolutionary at the mo <lb facs='#facs_84_r_1_1_tl_65' n='N065'/>ment... The reason we’re looking for peace is to allow <lb facs='#facs_84_r_1_1_tl_66' n='N066'/>us to operate openly and intensively in a political way </p> <p> <lb facs='#facs_84_r_2_1_tl_1' n='N001'/>to unite Protestants and Catholics. If we have to look <lb facs='#facs_84_r_2_1_tl_2' n='N002'/>for something that sounds as reactionary as peace, then <lb facs='#facs_84_r_2_1_tl_3' n='N003'/>we look for it. If people can’t see behind the facade to <lb facs='#facs_84_r_2_1_tl_4' n='N004'/>the reality then it’s their problem. <lb facs='#facs_84_r_2_1_tl_5' n='N005'/>When Marin de Burca speaks of working in a political way <lb facs='#facs_84_r_2_1_tl_6' n='N006'/>to unite Catholics and Protestants, she is speaking as a marxist <lb facs='#facs_84_r_2_1_tl_7' n='N007'/>attempting to organize working people to assume greater econo <lb facs='#facs_84_r_2_1_tl_8' n='N008'/>mic control. While, as a member of the Official IRA, de Burca <lb facs='#facs_84_r_2_1_tl_9' n='N009'/>definitely supports an anti-imperialist struggle, she feels that in <lb facs='#facs_84_r_2_1_tl_10' n='N010'/>the long run the sectarian disputes dividing the Catholic and Prot- <lb facs='#facs_84_r_2_1_tl_11' n='N011'/>estant working populations are perhaps an even greater obstacle <lb facs='#facs_84_r_2_1_tl_12' n='N012'/>to the struggle for self-determination. As the situation exists now, <lb facs='#facs_84_r_2_1_tl_13' n='N013'/>separate Catholic and Protestant labor unions render the labor <lb facs='#facs_84_r_2_1_tl_14' n='N014'/>movement as a whole relatively ineffectual, and continued eco <lb facs='#facs_84_r_2_1_tl_15' n='N015'/>nomic disintegration due to sectarian violence has left large sec <lb facs='#facs_84_r_2_1_tl_16' n='N016'/>tions of the Catholic and Protestant population unemployed. <lb facs='#facs_84_r_2_1_tl_17' n='N017'/>It is interesting to note the difference between de Burca's <lb facs='#facs_84_r_2_1_tl_18' n='N018'/>marxist analysis, which views the entire Irish working class as the <lb facs='#facs_84_r_2_1_tl_19' n='N019'/>oppressed class and the type of marxist analysis supported by <lb facs='#facs_84_r_2_1_tl_20' n='N020'/>other Republicans, which views the Catholic minority in the <lb facs='#facs_84_r_2_1_tl_21' n='N021'/>North as the oppressed class. The Provisionals, who are not nec <lb facs='#facs_84_r_2_1_tl_22' n='N022'/>essarily socialists but prefer to think of themselves as consistently <lb facs='#facs_84_r_2_1_tl_23' n='N023'/>on the left, persist in opposing both the British and the Protestan <lb facs='#facs_84_r_2_1_tl_24' n='N024'/>paramilitary and are engaged in a constant struggle for unifica <lb facs='#facs_84_r_2_1_tl_25' n='N025'/>tion with the Catholic South. Bernadette Devlin, a socialist and <lb facs='#facs_84_r_2_1_tl_26' n='N026'/>an aggressive Republican, generally supports this form of analysis <lb facs='#facs_84_r_2_1_tl_27' n='N027'/>where class—purely in economic terms—is secondary to anti <lb facs='#facs_84_r_2_1_tl_28' n='N028'/>imperialism and a class analysis stressing the political and eco <lb facs='#facs_84_r_2_1_tl_29' n='N029'/>nomic discrimination that the Catholic population as a whole has <lb facs='#facs_84_r_2_1_tl_30' n='N030'/>suffered at the hands of a Protestant-controlled government and <lb facs='#facs_84_r_2_1_tl_31' n='N031'/>industry. <lb facs='#facs_84_r_2_1_tl_32' n='N032'/>The complexity of the situation and the relative inadequacy <lb facs='#facs_84_r_2_1_tl_33' n='N033'/>of this approach is apparent when one considers, even in crude <lb facs='#facs_84_r_2_1_tl_34' n='N034'/>terms, the economic composition of the Catholic and Protestant <lb facs='#facs_84_r_2_1_tl_35' n='N035'/>population. While it is definitely true that the Protestant majori- <lb facs='#facs_84_r_2_1_tl_36' n='N036'/>ty, as a group, has greater economic control, and that the high <lb facs='#facs_84_r_2_1_tl_37' n='N037'/>est levels of unemployment in the North are in Catholic districts, <lb facs='#facs_84_r_2_1_tl_38' n='N038'/>the large majority of the Protestant population is also working <lb facs='#facs_84_r_2_1_tl_39' n='N039'/>class. It is, in fact, the youths of these two communities who are <lb facs='#facs_84_r_2_1_tl_40' n='N040'/>fighting one another, while the small minority of Protestants who <lb facs='#facs_84_r_2_1_tl_41' n='N041'/>are wealthy maintain an economic advantage and have an inter <lb facs='#facs_84_r_2_1_tl_42' n='N042'/>est in continuing sectarian hostilities for precisely this reason. <lb facs='#facs_84_r_2_1_tl_43' n='N043'/>It would be a mistake, however, to attempt to evaluate the <lb facs='#facs_84_r_2_1_tl_44' n='N044'/>significance of the peace movement on the basis of its potential <lb facs='#facs_84_r_2_1_tl_45' n='N045'/>effectiveness in furthering the cause of other political movements. <lb facs='#facs_84_r_2_1_tl_46' n='N046'/>It is perhaps more useful to consider the way in which the peace <lb facs='#facs_84_r_2_1_tl_47' n='N047'/>movement is indicative of an entirely different struggle for self <lb facs='#facs_84_r_2_1_tl_48' n='N048'/>determination, as well as a profoundly different approach to these <lb facs='#facs_84_r_2_1_tl_49' n='N049'/>issues. It is significant that what is being questioned by the peace <lb facs='#facs_84_r_2_1_tl_50' n='N050'/>people is not the ends of political struggle so much as the means <lb facs='#facs_84_r_2_1_tl_51' n='N051'/>by which ideas, opinions and interests are both culturally rein <lb facs='#facs_84_r_2_1_tl_52' n='N052'/>forced and socially imposed. <lb facs='#facs_84_r_2_1_tl_53' n='N053'/>The critical issue which is the historical source of internal <lb facs='#facs_84_r_2_1_tl_54' n='N054'/>Irish conflict is that of the relationship between Ireland and the <lb facs='#facs_84_r_2_1_tl_55' n='N055'/>British Empire. This has not only kept Catholics and Protestants <lb facs='#facs_84_r_2_1_tl_56' n='N056'/>feuding for generations, but has also led to innumerable splits <lb facs='#facs_84_r_2_1_tl_57' n='N057'/>within both camps. It is paradoxical that within this contex <lb facs='#facs_84_r_2_1_tl_58' n='N058'/>British imperialism is the one issue on which the peace campaign <lb facs='#facs_84_r_2_1_tl_59' n='N059'/>has most consistently refused to take a stand. This is not because <lb facs='#facs_84_r_2_1_tl_60' n='N060'/>individual participants have no opinions on this question, but <lb facs='#facs_84_r_2_1_tl_61' n='N061'/>rather because the movement locates the "solution” in people, in <lb facs='#facs_84_r_2_1_tl_62' n='N062'/>a process of interaction and definition rather than in abstrac <lb facs='#facs_84_r_2_1_tl_63' n='N063'/>"positions. </p> <pb n='85'/> <p> <lb facs='#facs_85_r_1_1_tl_1' n='N001'/>For the peace people, the question of the relative legitimacy <lb facs='#facs_85_r_1_1_tl_2' n='N002'/>of opposing traditions is momentarily suspended. What is reveal <lb facs='#facs_85_r_1_1_tl_3' n='N003'/>ed instead is the logical perfection of institutionalized conflict. <lb facs='#facs_85_r_1_1_tl_4' n='N004'/>Military, political and even religious leaders are themselves to <lb facs='#facs_85_r_1_1_tl_5' n='N005'/>blame, claim the peace organizers, not because of this or that <lb facs='#facs_85_r_1_1_tl_6' n='N006'/>’position" in relation to government, but because they have kept <lb facs='#facs_85_r_1_1_tl_7' n='N007'/>the Irish people divided among themselves. “Rationality” is for <lb facs='#facs_85_r_1_1_tl_8' n='N008'/>them not merely a question of “right" and “wrong,” but rather <lb facs='#facs_85_r_1_1_tl_9' n='N009'/>begins with the realization of how two non-dialectical visions of <lb facs='#facs_85_r_1_1_tl_10' n='N010'/>"right" are sustained by a culture which is imperialist and author <lb facs='#facs_85_r_1_1_tl_11' n='N011'/>itarian in its very mode of thought. <lb facs='#facs_85_r_1_1_tl_12' n='N012'/>Problems arise, claim the peace workers, because we have <lb facs='#facs_85_r_1_1_tl_13' n='N013'/>lost sight of a basic respect for the individual." "Solutions," they <lb facs='#facs_85_r_1_1_tl_14' n='N014'/>assert, cannot be artificially constructed and then imposed but <lb facs='#facs_85_r_1_1_tl_15' n='N015'/>must arise through a process of creative interaction in which gov <lb facs='#facs_85_r_1_1_tl_16' n='N016'/>ernment does not exist to control people, to violently suppress <lb facs='#facs_85_r_1_1_tl_17' n='N017'/>dissent, but rather as an extension of the more or less clearly arti <lb facs='#facs_85_r_1_1_tl_18' n='N018'/>culated needs and desires of all the people. <lb facs='#facs_85_r_1_1_tl_19' n='N019'/>These concepts, while they may reveal an element of political <lb facs='#facs_85_r_1_1_tl_20' n='N020'/>naiveté which translates as liberalism, are not rhetorical. The <lb facs='#facs_85_r_1_1_tl_21' n='N021'/>practical orientation of the movement to date, with its emphasis <lb facs='#facs_85_r_1_1_tl_22' n='N022'/>on open and careful discussion and a decentralized approach to <lb facs='#facs_85_r_1_1_tl_23' n='N023'/>developing democratic forms, is indicative of this fact. <lb facs='#facs_85_r_1_1_tl_24' n='N024'/>From this perspective we might examine Bernadette Devlin's <lb facs='#facs_85_r_1_1_tl_25' n='N025'/>claim that the peace movement is “dangerous" because it “dulls <lb facs='#facs_85_r_1_1_tl_26' n='N026'/>consciousness. “We were stupid,” she claims, “never to have or <lb facs='#facs_85_r_1_1_tl_27' n='N027'/>ganized the women."10 Both the truth and the potential fallacy of <lb facs='#facs_85_r_1_1_tl_28' n='N028'/>this statement are apparent. From the standpoint of almost any <lb facs='#facs_85_r_1_1_tl_29' n='N029'/>traditional political perspective, assertions of the sanctity of life, <lb facs='#facs_85_r_1_1_tl_30' n='N030'/>of respect for the individual and of a genuine “creative form of <lb facs='#facs_85_r_1_1_tl_31' n='N031'/>democracy" must appear naive without a "program” or a defini <lb facs='#facs_85_r_1_1_tl_32' n='N032'/>tion of the specific conditions under which such values can be <lb facs='#facs_85_r_1_1_tl_33' n='N033'/>realized. The peace people, however, do not qualify these condi- <lb facs='#facs_85_r_1_1_tl_34' n='N034'/>tions; the values themselves must define the very process of po <lb facs='#facs_85_r_1_1_tl_35' n='N035'/>litical interaction. If this is the case, how then can we interpret <lb facs='#facs_85_r_1_1_tl_36' n='N036'/>Bernadette’s regret at not having "organized" the women? Is it <lb facs='#facs_85_r_1_1_tl_37' n='N037'/>conceivable that the women supporting the peace movement are <lb facs='#facs_85_r_1_1_tl_38' n='N038'/>not in fact organizing themselves, organizing in such a way as to <lb facs='#facs_85_r_1_1_tl_39' n='N039'/>deny the legitimacy of those very political forms into which <lb facs='#facs_85_r_1_1_tl_40' n='N040'/>others seek to recruit them? <lb facs='#facs_85_r_1_1_tl_41' n='N041'/>A supportive statement by the Provisionals, in which the <lb facs='#facs_85_r_1_1_tl_42' n='N042'/>peace movement is described as a "spontaneous overreaction led <lb facs='#facs_85_r_1_1_tl_43' n='N043'/>by the photogenic Mrs. Betty Williams" reveals both the con <lb facs='#facs_85_r_1_1_tl_44' n='N044'/>descension and lack of reflexivity which typify those attitudes the <lb facs='#facs_85_r_1_1_tl_45' n='N045'/>women are most directly challenging. <lb facs='#facs_85_r_1_1_tl_46' n='N046'/>We are not necessarily in opposition to the peace people. <lb facs='#facs_85_r_1_1_tl_47' n='N047'/>But we want to explain to the people that there cannot <lb facs='#facs_85_r_1_1_tl_48' n='N048'/>be peace without justice. We just want to explain to the <lb facs='#facs_85_r_1_1_tl_49' n='N049'/>people turning out to these marches what the true posi <lb facs='#facs_85_r_1_1_tl_50' n='N050'/>tion is and show them the road to real peace.1 <lb facs='#facs_85_r_1_1_tl_51' n='N051'/>This raises the most subtle and yet critical issue of the peace <lb facs='#facs_85_r_1_1_tl_52' n='N052'/>movement’s significance. The whole notion of a “true position” is <lb facs='#facs_85_r_1_1_tl_53' n='N053'/>what the peace movement calls into question—it is not the politi <lb facs='#facs_85_r_1_1_tl_54' n='N054'/>cal views of the opposing factions that are being attacked; even <lb facs='#facs_85_r_1_1_tl_55' n='N055'/>the "violence” the movement condemns is but a manifestation of <lb facs='#facs_85_r_1_1_tl_56' n='N056'/>something far more profoundly significant. The peace people are, <lb facs='#facs_85_r_1_1_tl_57' n='N057'/>in my opinion, not reacting simply to a specific incident of vio <lb facs='#facs_85_r_1_1_tl_58' n='N058'/>lence, nor even to violence in the abstract. They are (perhaps <lb facs='#facs_85_r_1_1_tl_59' n='N059'/>naively but nevertheless insightfully) challenging a whole tradi <lb facs='#facs_85_r_1_1_tl_60' n='N060'/>tion. What is fundamentally being questioned is the legitimacy of <lb facs='#facs_85_r_1_1_tl_61' n='N061'/>the imposition of the will of one group upon another. “Justice” is <lb facs='#facs_85_r_1_1_tl_62' n='N062'/>not being challenged so much as how justice is socially defined. <lb facs='#facs_85_r_1_1_tl_63' n='N063'/>imperialism, in this context, is not simply a question of national <lb facs='#facs_85_r_1_1_tl_64' n='N064'/>or international conquest. Imperialism is the imposition of a so </p> <p> <lb facs='#facs_85_r_2_1_tl_1' n='N001'/>cial order, whether through military force or political manipula <lb facs='#facs_85_r_2_1_tl_2' n='N002'/>tion, by those with power on those without. The very question of <lb facs='#facs_85_r_2_1_tl_3' n='N003'/>how Northern Ireland can be governed, says Ciaran McKeown, <lb facs='#facs_85_r_2_1_tl_4' n='N004'/>"is an imperialist question” because it implies the imposition of <lb facs='#facs_85_r_2_1_tl_5' n='N005'/>political forms by politicians on people who are for the most part <lb facs='#facs_85_r_2_1_tl_6' n='N006'/>excluded from the process of a creative democracy. Thus all ex <lb facs='#facs_85_r_2_1_tl_7' n='N007'/>tant political solutions are inevitably violent, whether the vio <lb facs='#facs_85_r_2_1_tl_8' n='N008'/>lence is “legal"1 or "illegal," because they require military force <lb facs='#facs_85_r_2_1_tl_9' n='N009'/>to secure them. <lb facs='#facs_85_r_2_1_tl_10' n='N010'/>From this perspective, British colonialism, Protestant politi <lb facs='#facs_85_r_2_1_tl_11' n='N011'/>cal suprematism and IRA military violence can be seen as identi <lb facs='#facs_85_r_2_1_tl_12' n='N012'/>cal in their implicit attitudes toward the imposition of social or <lb facs='#facs_85_r_2_1_tl_13' n='N013'/>der. In every case, whether justified or not, “justice” is an exten <lb facs='#facs_85_r_2_1_tl_14' n='N014'/>sion of self-interest and democracy is a rhetorical, not a methodo <lb facs='#facs_85_r_2_1_tl_15' n='N015'/>logical phenomenon. While it would be absurd to consider the <lb facs='#facs_85_r_2_1_tl_16' n='N016'/>peace movement as a feminist or a socialist movement, it express <lb facs='#facs_85_r_2_1_tl_17' n='N017'/>es values that are fundamentally in accordance with both socialist <lb facs='#facs_85_r_2_1_tl_18' n='N018'/>and feminist thought, in that it addresses the whole issue of power <lb facs='#facs_85_r_2_1_tl_19' n='N019'/>and questions the way the right of self-determination has been <lb facs='#facs_85_r_2_1_tl_20' n='N020'/>eclipsed, not only by those in power, but by those who conceive <lb facs='#facs_85_r_2_1_tl_21' n='N021'/>of power alone—economic, military or political—as the just de <lb facs='#facs_85_r_2_1_tl_22' n='N022'/>terminant of social order. <lb facs='#facs_85_r_2_1_tl_23' n='N023'/>Perhaps it’s been our fault, you see, because we have sat <lb facs='#facs_85_r_2_1_tl_24' n='N024'/>back—as ordinary people—which is the fault every- <lb facs='#facs_85_r_2_1_tl_25' n='N025'/>where—where the ordinary people sat back and let a <lb facs='#facs_85_r_2_1_tl_26' n='N026'/>few extremists say, "We are speaking and we are work- <lb facs='#facs_85_r_2_1_tl_27' n='N027'/>ing for the people." We should have long ago stood up <lb facs='#facs_85_r_2_1_tl_28' n='N028'/>and said, “They’re not speaking for us." I mean, people <lb facs='#facs_85_r_2_1_tl_29' n='N029'/>have been coming out from Ireland representing the <lb facs='#facs_85_r_2_1_tl_30' n='N030'/>people—the ordinary people, perhaps people like our <lb facs='#facs_85_r_2_1_tl_31' n='N031'/>selves, who never had the nerve. I mean, just to be here <lb facs='#facs_85_r_2_1_tl_32' n='N032'/>takes all the courage one has got, you know. [Mairead <lb facs='#facs_85_r_2_1_tl_33' n='N033'/>Corrigan 13 </p> <p> <lb facs='#facs_85_r_3_1_tl_1' n='N001'/>1. Margaret McNeil, “They Say That There’s Protestants Walking With <lb facs='#facs_85_r_3_1_tl_2' n='N002'/>Us, The Friend (London, Sept. 1976) <lb facs='#facs_85_r_3_1_tl_3' n='N003'/>2. Daily American (Rome, Aug. 22, 1976). <lb facs='#facs_85_r_3_1_tl_4' n='N004'/>3. Michelle Zimbalist Rosaldo, Woman, Culture, and Society, ed. <lb facs='#facs_85_r_3_1_tl_5' n='N005'/>Michelle Z. Rosaldo and Louise Lamphere (Stanford, Calif.: Stanford <lb facs='#facs_85_r_3_1_tl_6' n='N006'/>University Press, 1974). <lb facs='#facs_85_r_3_1_tl_7' n='N007'/>4. Betty Williams on Woman program, moderator Sandra Elkin (Buffalo: <lb facs='#facs_85_r_3_1_tl_8' n='N008'/>WNEDTV, Oct. 1976). <lb facs='#facs_85_r_3_1_tl_9' n='N009'/>5. Mairead Corrigan on Woman program (Buffalo: WNED TV, Oct. <lb facs='#facs_85_r_3_1_tl_10' n='N010'/>1976). <lb facs='#facs_85_r_3_1_tl_11' n='N011'/>6. Sinn Fein (means “we ourselves”), founded in 1916, has functioned <lb facs='#facs_85_r_3_1_tl_12' n='N012'/>since the 1930s mainly as the political wing of the IRA. In the 1960s it <lb facs='#facs_85_r_3_1_tl_13' n='N013'/>swung to the left as did the IRA and became involved in social and eco <lb facs='#facs_85_r_3_1_tl_14' n='N014'/>nomic agitation and in 1970 split along the same lines as the IRA into <lb facs='#facs_85_r_3_1_tl_15' n='N015'/>Sinn Fein, Kevin Street (Provisional) and Sinn Fein, Gardiner Street <lb facs='#facs_85_r_3_1_tl_16' n='N016'/>(Official). The names come from the streets in Dublin where they have <lb facs='#facs_85_r_3_1_tl_17' n='N017'/>their headquarters. Both groups use the name Sinn Fein, however, in <lb facs='#facs_85_r_3_1_tl_18' n='N018'/>spite of the fact that their views are widely divergent. The Provisionals <lb facs='#facs_85_r_3_1_tl_19' n='N019'/>are more militant and nationalist while the Officials are marxist and <lb facs='#facs_85_r_3_1_tl_20' n='N020'/>not militant. <lb facs='#facs_85_r_3_1_tl_21' n='N021'/>7. June Campion, quoted in Peace by Peace (Belfast, Oct. 16, 1976). <lb facs='#facs_85_r_3_1_tl_22' n='N022'/>8. Marin de Burca, quoted by David Moberg, In These Times (Jan. 1977). <lb facs='#facs_85_r_3_1_tl_23' n='N023'/>9. Ibid. <lb facs='#facs_85_r_3_1_tl_24' n='N024'/>10. Bernadette Devlin, quoted by Lucinda Franks, “We Want Peace, Just <lb facs='#facs_85_r_3_1_tl_25' n='N025'/>Peace,” New York Times Magazine (Dec. 19, 1975). <lb facs='#facs_85_r_3_1_tl_26' n='N026'/>11. Irish Republican Information Service (Dublin, Oct. 14, 1976). Italics <lb facs='#facs_85_r_3_1_tl_27' n='N027'/>the author’s. <lb facs='#facs_85_r_3_1_tl_28' n='N028'/>12. Ciaran McKeown, “The Price of Peace” (Belfast, 1976). <lb facs='#facs_85_r_3_1_tl_29' n='N029'/>13. Mairead Corrigan on Woman program (Buffalo: WNED TV, Oct. <lb facs='#facs_85_r_3_1_tl_30' n='N030'/>1976). <lb facs='#facs_85_r_3_1_tl_31' n='N031'/>Sarah Charlesworth is an artist and photographer who lives and works in <lb facs='#facs_85_r_3_1_tl_32' n='N032'/>New York. Her previously published writings have dealt with art and social <lb facs='#facs_85_r_3_1_tl_33' n='N033'/>theory. She was a founding editor of The Fox and is a member of the anti <lb facs='#facs_85_r_3_1_tl_34' n='N034'/>catalog collective. </p> </div> </body> </text> </TEI>
The Raised Voices of Women in Mid-Nineteenth Century France 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>The Raised Voices of Women in Mid-Nineteenth Century France</title> <author>Cäcilia Rentmister</author> <editor>Judith Lee (translator)</editor> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <pb/> <div> <pb n="52" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_052.jpg"/> <head>The Raised Voices of Women in Mid-Nineteenth Century France</head> <byline>Cäcilia Rentmeister</byline> <byline>Translated by Judith Lee</byline> <p> * Excerpted from <title>Honoré Daumier und die ungelosten Probleme der bur gerlichen Gesellschaft: Katalog zur Ausstellung der Neuen Gesellschaft für bildende Kunst,</title> Berlin, Schloss Charlottenburg, 1974. </p> <p> These are the questions: With what weapons did women in the mid-nineteenth century actually fight? Did they have allies? Was their enemy simply the male? What goals did they fight for? How were women affected by the reactions to the first French Revolution in 1789, and what laws controlled them? Why did they seek to join the early socialist groups and why were they rejected or disciplined as soon as they asserted their own interests? Why did their hopes in such apostles as Saint-Simon, Fourier, Cabet, George Sand or in the workers' alliances turn out to be illusions? How is it that women of all classes were able to unite, so as to form an autonomous women's movement?...</p> <div> <head>1789: The Pioneers</head> <p>The women's movement of 1848 sought victory in a battle in which, since the Great Revolution of 1789, it had only experienced defeat. In 1789 women had left their homes, had climbed down from the allegorical pedestals of freedom and fatherland to fight for these values with weapons in their hands. The "amazon of freedom," Théroigne de Méricourt, and her sisters throughout France formed amazon corps. It was women who advanced on Versailles to bring the royal couple and the crown prince — "the baker, the baker's wife and the baker's little boy"— to Paris. <note>1. Cf. Simone de Beauvoir, <title>The Second Sex</title> (New York: Knopf, 1953); Léon Abensour, <title>Histoire Générale du Féminisme</title> (Paris, 1921); Clara Zetkin, <title>Zur Geschichte der proletarischen Frauenbewegung Deutschlands</title> (Berlin, DDR, 1958); Sheila Rowbotham, <title>Hidden from History</title> (London, 1973).</note> As long as they integrated themselves into the fighting lines and subordinated themselves to common goals, they were accepted. But when they followed the men's example and established clubs to demand civil rights and freedom of economic activity for themselves, then the amazons of freedom became hateful Megaeras. As a companion to the “Declaration of the Rights of Man, Olympe de Gouges proposed in 1789 a “Declaration of the Rights of Women": “A woman has the right to go to the gallows; she must also have the right to mount the speaker's platform."</p> <p>In the same declaration she concluded, "Oh women, women! When will you stop being blind? What advantages have you gained through the Revolution? Greater contempt, more flagrant disregard. In the centuries of corruption the only thing you controlled was men's weaknesses. Your empire has been destroyed. What is there left? The conviction that men are unjust...."</p> <note>2. Quoted from Daniel Stern, <title>Histoire de la Révolution de 1848</title> (Paris, 1878), II, pp. 378-379. Cf. also d'Agoult (Daniel Stern), <title>Mémoires 1833-1854</title> (Paris, 1877).</note> <p>Even though in 1790 the Constituent Assembly introduced a law enabling daughters to inherit property and, in 1792, a divorce law, it was only the wives and daughters of wealthy men whose lot improved. Women's more basic demands for education, the free exercise of an occupation and political rights were rejected. Napoleon's “Civil Code” of 1804 stated outright: “A wife owes obedience to her husband" (Article 1). Although Article 488 of the code states that all unmarried women of legal age are“...absolute mistresses of their person and property” and are able to carry out all acts of civil life, <note>3. Cf. <title>Gazette des femmes</title>, no. 53, 10. 10. 1846.</note> as long as a single adult woman was not able to support herself through her own work, she would hardly pass her twenty-first year unmarried. By 1826 the restoration government had rescinded the divorce law; the women's clubs had already been banned in 1793 by the revolutionary government's Committee of Public Safety. </p> </div> <div> <head>Women's Emancipation between Revolutions: The Apostles</head> <p>In spite of the setbacks, women had perceived the possibilities for freedom. Soon after the turn of the century the social utopians appeared before the public with plans for a new social order. Searching for a new identity and lacking their own theories, women believed they had finally found their place in Saint Simon's Association universelle. Here man and woman would form the future “social unit" in a structure free of all enslavement. However, Saint-Simon himself provided only general formulations. The exegesis of his gospel was left to his apostle Père Enfantin. <note>4. Cf. Edith Thomas, <title>Les femmes en 1848</title> (Paris, 1948), pp. 7ff.</note> And Enfantin again placed woman on the very throne that had always stood in the way of her liberation: she became an ideal figure to be worshipped. Enfantin and his numerous followers, men and women of all classes, awaited the appearance of the Mère—the female messiah who, with the Père, was supposed to form the Saint-Simonian papal couple, the “Divine Androgyne." This "Mother" was also supposed to break the "seal" on the shackles of women. But despite an intensive search, which included expeditions to the Orient, this worthy woman was never found. The seal on women's chains remained.</p> <p>Enfantin loosened one bond, however, with his réhabilitation de la chair—the "liberation of the flesh" from the bonds of Christianity's aversion to the carnal. This meant the moral relaxation of the bonds of marriage to the very boundaries of promiscuity and was first perceived by Saint-Simonian women as progressive. However, it proved to be neither a theoretical nor a practical step toward their liberation. The dualism of body and soul was maintained. Woman continued to be flesh, but her corporeality was elevated as a means of dignifying the male spirit. By making the body divine, woman could be sexually exploited that much more easily. In addition, no women sat in Enfantin's Conseil suprême, and in 1851 they were completely excluded from the hierarchy.</p> <p>A great many women learned a lesson from these disappointments. They began to search for a new apostle. Former supporters of Saint-Simon wrote in the first issue of their women's journal, Femme libre (1832):</p> <quote>When everyone is concerned about freedom and the proletariat demands liberation, in the face of this great movement of social emancipation taking place before our very eyes, shall women remain inactive?...Is our lot so fortunate that we have no demands to make? Up to now woman has been exploited and tyrannized. This tyranny, this exploitation must cease. Like men we are born free; one half of the human race cannot be sujected to the other without injustice. <note>5. Ibid., p. 10.</note> </quote> <pb n="53" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_053.jpg"/> <p> Women saw themselves here not as a minority, but as one half of humanity. If the male proletariat, numerically a smaller group, could demand liberation, why not women?...</p> <p>Yet women were not in a position to create an autonomous emancipation movement. For too long they had been forceably prevented from gaining any insight into social relationships. Before 1848, no matter what family and social role the women's rightists envisioned for themselves, they always viewed their liberation in conjunction with that of the most oppressed classes. However, even these classes, which the women held to be their natural allies, rejected them as soon as they demanded the end of sexual domination.</p> <p>Flora Tristan, for example, led a lifelong battle for the cause of women and workers because of the dual oppression she had her self experienced. After the early death of her father she went to work as an illuminator. Her youthful marriage to her employer was unhappy; Tristan left her husband and took her children with her. According to the law at that time the marriage could not be dissolved and the husband was able to persecute his wife for many years without punishment. <note>6. For the following ef. Zetkin, pp. 161ff. and Thomas, pp. 18ff.</note></p> <p>Tristan's major work, The Union of Labor, appeared in 1843, shortly before her death. Long before Marx she proposed and expounded her idea that although the emancipation of workers must be achieved by the workers themselves, it would only remain an illusion without the emancipation of women. Tristan also suggested to the workers the text for a declaration which ends, “We, the French proletariat...recognize...that the neglect and disregard which men have shown for the natural rights of women is the sole reason for unhappiness in the world....Sons of 1789, this is the task that your fathers have given you to do!"</p> <p>Because of this declaration and especially because of her portrayal of the misery of proletarian marriages, Tristan did not meet with sympathy from her public. Marriage and family were the last reserves where the worker could exercise control on account of his sex. Thus labor and trade associations recognized Tristan's work belatedly, if at all. In a letter to Considérant she writes with disappointment, “Almost everyone is against me. The men, because I demand the emancipation of women, the property owners, because I demand the emancipation of wage earners." <note>7. Thomas, p. 29.</note> </p> </div> <div> <head>The Bluestockings Corrupt the Moral Tradition of Marriage</head> <p>The Bluestockings (Les Bas-bleus) were not a specific organization. Originally the term referred to a group of female scholars and writers who owed their nickname to a certain blue-stockinged Mrs. Stillingfleet, a literary lady prominent in London around 1780.<note>8. Brockhaus, <title>Kl. [eines] Konversationslex.[ikon]</title> (Leipzig, 1886).</note> By the mid-nineteenth century, Daumier and his contemporaries used the term to mean any emancipated woman from the bourgeois class, which, being their own class, posed the greatest threat and inspired the strongest defenses.</p> <p>Since bourgeois married women revolted naturally not against employers, but against their husbands (who were not recognized as employers since housework was unpaid), marriage was the focal point of the emancipation efforts of the caricaturists' Bluestockings. In Daumier's series Conjugal Mores (1839), the battle between the sexes took place in the parlor or bedroom, the target the flaws of a lower- or middle-class marriage. The sixth plate of the series points clearly to the Bluestockings. A husband in his underwear holds out his torn pants to his wife, who is reading, and complains that George Sand keeps wives from mending their husbands' trousers: "Either we should make divorce legal again or outlaw this lady writer!" <note>9. Charivari, 6. 30. 1839; [Loys] Delteil, [<title>Honoré Daumier</title>, 10 vols. (Paris, 1925-1930)], no. 629.</note> This print evokes the three chief complaints against the Bas-bleus: wives refuse to mend trousers and even want to dress themselves in this symbol of their husbands' power; marriage and family are neglected in favor of the woman's own interests; and George Sand—"that woman writer who has inspired literary ambitions in the heads of faithful wives -is the source of all evil.</p> <p>What did George Sand really want and what kind of views did Daumier credit to her blue-stockinged followers? <note>10. Cf. G. Sand, <title>Gefahrten von der Frankreichwanderschaft [Compagnon du tour de France]</title> (Berlin, DDR, 1954), with an afterword by Rita Schober; Edith Thomas, George Sand (Paris, 1959); Jean Larnac, <title>G.[eorge] S.[and] als Revolutionarin [George Sand as a Revolutionary)</title>.</note> In 1831 the Baroness Dudevant had left her husband and experienced her first success as a feuilletonist for Le Figaro under the pseudonym George Sand. Soon after that, in her novels Indiana and Lelia, she created heroines who protested the tyranny of marriage. The subsequent development of Sand's political consciousness was similar to that of countless other women. She moved from the Saint-Simonians, who wanted her to be their “Mother," to the social utopians and Lamennais and eventually, at the end of the 1830s, she converted to the views of Pierre Leroux, who fought capitalism through forced development of new methods of agricultural production. George Sand took Leroux's position in her so-called social novels written after 1840. She made farmers and workmen her protagonists and declared them to be the determining social force, paralleling the actual historical role of these classes from 1830 to 1850. Her opinions placed her in the left wing of the petit bourgeois democrats.</p> <p>As for the women's question, Sand—like Leroux—did not expect a solution until a new social order could be established. But it is not only because of this blind faith in automatic change that the women's question is peripheral in her “social” novels. From her extensive work with society and politics she could have come to a clearer analysis of the present and future role of women in society. But Sand was no longer concerned with the women's question. Having been accepted as one of their own by the most influential men of her time, she believed she had attained emancipation and was, indeed, already beyond it. She had become a man out of conviction and had nothing but contempt for her former sex. Thus even in 1848 she disassociated herself very clearly from the women's rightists.</p> <p>The George Sand who is the central figure in Daumier's Bluestocking series is still the early Sand, opposing marriage, although by the time the series appeared in 1844 she had already begun the development described above. Sand was the perfect model even for Daumier's travesty of emancipation—portrayed simply as the imitation and exchange of sexual roles. She dressed like a man, smoked, used male gestures...Daumier's Bluestockings have only first names, which makes them anonymous and insignificant. Among the precursors of these Eudoxies, Ismenes and Arsinoes are the French précieuses of the seventeenth century, whose legacy is visible today in the petites bourgeoises who imagine themselves to be leading intellectuals..</p> <p>When intellect and creativity, considered to be masculine qualities, are appropriated by daring women, they supposedly be come—if not men—then at least sexless creatures. Thus, in the first plate of Daumier's series, an unattractive Bluestocking gazing at her own likeness in a mirror takes comfort in Madame de Stael's words, “Genius has no sex." <note>11. <title>Charivari</title>, 1. 30. 1844. Delteil, nos. 1221-1260.</note> Nevertheless, Daumier's Bluestockings still have families and still assume the duties of production and reproduction of manpower, although because of their intellectual predilections, they are unwilling to do housework. Indeed the very existence of the family is in danger, when the children are always falling into the bathwater or when the husband must care for them while his wife writes an “Ode to Motherhood." It escaped Daumier's notice that the traditional division of roles gives far more occasion for comedy when the husband is writing an ode praising the joys of motherhood while the wife keeps the children out of his way.</p> <p>In contrast to the women in Conjugal Mores, whose activities were limited to the domestic sphere, ambition drives Daumier's <pb n="54" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_054.jpg" /> Bluestockings to take the first steps out of the house and found organizations limited only to their own sex. They are either gaped at or hooted at as salon socialists; they change the function of the ladies' tea party and meet as a circle of drinking companions who parrot revolutionary ideologies. Daumier deals with the real, and more threatening, women's newspapers and clubs only twice. At a meeting to found their journal The Women's Literary Sans Culotte, Bluestocking journalists discuss the contents of their first issue: "What do we want to wreck first? For a beginning, let's smash everything!" And in the second print— the chaotic meeting of a women's club—it is typical of Daumier that once again the ironic caption speaks only of women's incapability of working as an organization. The observer learns nothing about the reason for the meeting or the topic of discussion. These sheets do not give the vaguest notion of the explosive power that the women's movement was about to develop in the February Revolution of 1848.</p> </div> <div> <head>The Women's Movement in 1848: Goals and Organization</head> <p>The February Revolution again called women to the battlefield. Again the overthrow of an old social order loosened their bonds, and for a short time in the anarchy of law and morals they escaped the control of their masters. Since 1789 they had expanded their demands and made them more precise: without the complete abolition of the domination of one sex by the other, the revolution could not be victorious. Their common goals were the right to work, the autonomous organization of wage-earning women, abolition of educational privileges, and the procurement of political and civil rights (suffrage, divorce).</p> <p>So that men could hear them, these working and bourgeois women gained the right to speak in democratic and socialist men's clubs like the Club Lyonnais or the Club de l'émancipation des peuples. At best the men tolerated or smiled at the women's presentations. Once again women learned from these experiences; they organized themselves autonomously. They came together from homes and factories to form their own clubs and editorial boards. “The natural agent for your liberation is woman," points out one of the women's papers. <note>12. <title>Voix [desfemmes]</title>, 4. 20. 1848.</note> The two largest women's clubs in Paris were the Club de l'émancipation des femmes, founded by Jeanne Deroin and Dr. Malatier, and the Club des femmes, founded by Eugénie Niboyet. Clubs founded newspapers, newspapers founded clubs. Thus Jeanne Deroin published the Opinion des femmes <note>13. The successor to the paper <title>Politique des femmes</title>.</note> and Niboyet the Voix des femmes. To properly evaluate the achievements and significance of the women's newspapers, it must be kept in mind that they appeared daily and that newspapers were the only form of mass communication.</p> <note>14. There were countless other journals for women, but often only a few issues appeared because of the special difficulties involved (financing, organization, marketing and distribution, quality).</note> <p>Among the editors of the Voix, Niboyet had worked for a long time on women's newspapers, <note>15. She was editor from 1833 to 1834 in Lyon of the pro-Fourier <title>Conseiller des femmes</title>.</note> and Deroin was a teacher who wrote for the Opinion des femmes as well. Désirée Gay was a worker and later founder of a women laundry workers' union. A large number of other writers for the paper signed their articles with first name and occupation only. With its first issue on March 20, 1840, the Voix called for support of the aforementioned demands of the women's organizations.</p> <p>The battle dealt primarily with the right to vote and the right to work. On March 5, 1848, the provisional government had proclaimed “universal suffrage." The next day it specified exactly who was allowed to vote — all men over twenty-one years of age who enjoyed the rights of citizenship. Mentally retarded people and minors were not permitted to vote. The women belonged to this group.</p> <p>Women rose up in arms. In an address to the provisional government on March 16, women artists, workers, writers and teachers demanded equal political rights for both sexes. Delegations from the “Committee for Women's Rights" went to Marrast at City Hall and insisted on the right to vote because the voting law failed to specifically exclude women. The Jacobin Club released a trial balloon with the nomination of George Sand as a candidate for the National Assembly. The women's clubs enthusiastically endorsed the nomination. The Voix des femmes of April 16 proclaimed, “We have nominated George Sand!" A woman in the National Assembly, one whom men had declared to be a genius, would have to be heard! But in the newspaper La Réforme Sand clearly disassociated herself from the movement. She admitted that freedom of opinion was the right of both sexes, but protested the unsolicited support of women whom she did not know and with whom she did not wish to associate.</p> <p>Eugénie Niboyet had realized that Sand was no women's rightist. In the Voix on April 10, 1848, she returned the affront. The candidacy of Madame George Sand was decided by men in clubs where women are not permitted.... The republic has not done away with the privileges of the talented, but it has limited them by imposing responsibilities." In the election on April 23 George Sand was defeated. One half of the French people still had no voice.</p> </div> <div> <head>Organizing by Women</head> <p>The right to work meant economic independence, a fundamental step towards women's liberation. Finding work for women had nothing to do with charity. “Under a republican government privilege is replaced by equality, just as charity becomes fraternity...." (commentary in the Voix on April 3, 1848). The <pb n="55" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_055.jpg" /> women's demands were presented before the Commission du travail of the provisional government in a very general and rather feeble form. An address directed to Louis Blanc, the commission chairman, read:</p> <quote>Many women are in a desperate situation.... Good morals build republics and it is the women who are responsible for good morals! Let the nation praise wom en's labor through your voice. We hope that through our will work done by women will have a status in the present reorganization of labor and that you will urge that the fundamental principle of association be applied to the kinds of work that are carried out by women.</quote> <note>16. Stern, II, p. 161.</note> <p>In a postscript the woman writing this appeal demanded auxiliary protective measures to make it possible for women to work and to make their work easier, such as the establishment of "national restaurants, state laundries, day-care centers and so forth.</p> <note>17. <title>Voix des femmes</title>, 3.2. 1848.</note> <p>The women's movement sought to organize female workers in two ways. First, through the creation of associations at existing places of work. Second, by demanding that the state set up national workshops for women to reduce unemployment.</p> <p>Workers' associations already existed under the July Monarchy in embryonic forms, but they were constantly exposed to persecution by Louis-Philippe's government. However, with the February Revolution of 1848, the concept of an "association' took on an almost magical significance, for it represented both an end to all exploitation and a "brotherliness” which would be real ized in all social realms. <note>18. Edith Thomas, <title>Pauline Roland</title> (Paris, 1956), p. 127.</note> Women also formed associations. Pauline Roland founded an association for socialist teachers. The alliance of midwives, Sages femmes unies, demanded medical training, better care for the working classes and state wages. The Voix des femmes added that women should reclaim gynecology and no longer surrender their bodies to profit-seeking, incompetent doctors.</p> <note>19. <title>Voix des femmes</title>, 4.20. 1848.</note> <p>The Voix also founded an association for domestic workers, Association des femmes à gages, to eliminate the isolation inherent in domestic work. In October, 1848, Jeanne Deroin launched the Association des ouvrières lingères. The female laundry workers organized their businesses themselves, from soliciting orders to delivery. One quarter of the profit was paid out in wages, one quarter went into a relief fund for the workers and the other half went back into production. <note>20. Thomas, <title>Les femmes en 1848</title>, pp. 71ff.</note> Finally, in August 1848, Deroin founded a central French labor union movement. In answer to her call delegates from a large number of associations met in Paris to discuss suggestions for a federation — 140 associations formed the alliance. In 1850 Deroin was imprisoned for half a year as an enemy of property, individualism and male domination in the state and in the family.</p> <p>In March 1848, the suggestion was first made, in the Voix des femmes, that the government's National Workshops also be established for women. In the course of their campaign, delegates of female workers finally established Ateliers des femmes (work shops for women) through the Commission du travail. Désirée Gay, a worker and editorial writer for the Voix, was chosen as a delegate by the female workers of the second arrondissement of Paris. She gave regular reports in the Voix about the organization and development of the newly opened workshops in the second district, and from her reports we get an idea of what was happen ing in other ateliers.</p> <p>Every 100 female workers were under the command of a division leader (daily wage: 3 francs). Every ten women were in turn assigned to a brigade leader (daily wage: 1.50 francs). On March 20, 1848, the Voix published figures on the average earnings of seamstresses: for a twelve-hour day they could earn at the most 1 franc in the city, in the country no more than 60 centimes. In general, women earned only about one-third of what men earned. Female workers sewed national guard shirts for the government and received piece-wages. Since most of them were un trained, many barely received 30 centimes a day, far below the subsistence minimum. The substantial wage differences within the ateliers also made women unhappy. The complaints multiplied. An editorial in the Voix on April 14, 1848, declared:</p> <quote>Why do women revolt? Because women's workshops are controlled by men, because favoritism brings higher wages than work accomplished, finally, because some have too much and others too little. What the female worker wants is not an organized hand-out, but rather a just reward for work done.... We want all people to be able to make a living from their labor....</quote> <p>On April 18 Désirée Gay wrote:</p> <quote>Female workers are dying of hunger. The work that they are given to do is only bait. The organization of women's work is only despotism under a new name The appointment of women's delegates is a false pretense thought up by men who want to get women off their backs.</quote> <p>Because of her energetic advocation of women's rights, Désirée Gay was fired as division leader several days later. The government threatened to imprison her and close the ateliers, if there was an uprising among women workers.</p> <p>In the government decree of June 23, 1848, on the closing of the National Workshops, the ateliers des femmes did not even need to be mentioned. They had already become ineffectual due to the participation of women in the June insurrection.</p> <note>21. Ibid., p. 56.</note> <p>The most infamous society of female workers formed for the liberation of women was a paramilitary group, a feminist “militia," called the Vesuviennes. The members adopted this nick name, mockingly applied by the public, and gave it their own interpretation. Actually it described their situation superbly: like long dammed-up lava, they would cause social upheaval. With weapons clashing, the Vésuviennes marched in front of the City Hall and at the Place Vendôme under the command of Josephine Frenouillet. This was grist for the mill of Charivari. From the end of March onwards, the house caricaturist Cham was already lashing out at the “Vesuvian marriage” under the weekly heading Revue comique de la semaine. He had the husband of a Vésuvienne sigh while minding the children, “Since early morning my wife has been in front of City Hall at a proclamation ceremony and here little Gugusse has been proclaiming for two hours that she wants to be fed!"</p> <note>22. <title>Charivari</title>, 4.2. 1848.</note> <p>The ideal “Vesuvian marriage" is presented in the “constitution" of the Vésuviennes. <note>23. Thomas, <title>Les femmes en 1848</title>, pp. 59-60.</note> Divorce is permitted—but every woman over twenty-one and every man over twenty-six is obliged to marry. If a woman should refuse to marry, or if it is proved that she is adopting her husband's political views, she will lose all her rights as a female citizen, rights which she otherwise enjoys without restriction from the age of fifteen. In a Vesuvian marriage”...the spouses are partners, united by interest and feelings. Neither one is allowed to dominate." Both marriage partners are to be gainfully employed; housework is shared. If the husband refuses to do housework, he must then serve in his wife's place in the Civil Guard as well as his own in the National Guard. It is a program of equality consistent to the last degree: even sex-related clothing was gradually to disappear.</p> <pb n="56" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_056.jpg"/> <p>In the face of such goals, it is no wonder that the Vésuviennes were the favorite butt of satirical attacks. While Daumier's Divorce Rightists" series did not appear until August 1848, Charivari had already been printing the twenty-plate series Les Vésuviennes by E. de Beaumont since the first of May. Beaumont pictured the Vésuviennes almost exclusively as capricious young girls, as ballet pupils upon the drill field, their rifles held, as if by accident, in delicate hands.</p> <p>The relationship between the Vésuviennes and other women's organizations was probably strained due to methods rather than goals. Except for a few stones thrown through the Charivari windows, the socialist women rejected violence as a political instrument.</p> </div> <div> <head>The "Socialist Women"</head> <p>After the June (1848) insurrection, all political activities, above all the organization of clubs, were forbidden to women. The Voix des femmes had to cease publication. These measures were based on a decree by the Assemblée, which was initially worded: "Women and minors may not be members of a club nor attend club meetings." After protests against the defamatory way in which women and minors were put in the same category, minors were eliminated from the decree, but the ban against women remained.</p> <note>24. Ibid., pp. 57ff.</note> <p>As a consequence, women turned to political banquets (bankettes), which because of their inflammatory nature, partially replaced the clubs. At the beginning of 1849 Proudhon protested against the participation of women in a banquet presided over by Pierre Leroux. Daumier referred to this on January 25, 1849, in Charivari. A woman in one of his caricatures complains, "And Proudhon does not want us to go to socialist banquets...the unfortunate man has never been in love...otherwise he would realize that a woman graces any occasion by her very presence!”</p> <note>25. Delteil, no. 1794.</note> <p>The conspiracy against husbands, the resistance to obedience and the neglect of the home are once again presented as the chief goals of Daumier's Femmes Socialistes. <note>26. Delteil, nos. 1916-1927.</note> In this series, however, he also addresses himself for the first time to contemporary events: the closing of the clubs, the banquets, and the election campaign of Jeanne Deroin, who had intended to capitalize on the fact that there was no law which made women ineligible for public office. At the meetings of the Democrat-Socialists she took the floor and demanded that she be nominated, explaining, “They are Democrat-Socialists, they desire the end of exploitation of one man by another and of women by men, they want a complete and radical abolition of all privileges of sex, race, birth, class and property.... It is in the name of these principles that I present myself as a candidate for the legislative assembly and request the support of the party...."</p> <note>27. Thomas, <title>Les femmes en 1848</title>, pp. 63ff. on the candidacy of Deroin.</note> <p>As a political candidate she went directly to the voters of the Seine district: “A legislative assembly which is made up only of men is just as incapable of making laws to govern a society of men and women as an assembly of privileged persons would be to decide on the interests of the workers, just as an assembly of capitalists would be incapable of upholding the honor of the father land." When the Democrat-Socialists tried to prevent her from speaking at a meeting, she took the floor anyway and asked what had happened to the principles of those “... who demand the abolition of privilege' but still try to keep that privilege which they hold in common with the privileged, that privilege which is the source of all privilege and of all social injustice: the domination of man over woman?" Although she was finally suggested as a candidate for the Democrat-Socialists, Deroin received only a few votes.</p> <p>George Sand was also suggested and rejected as a candidate. Again she demonstrated that she did not think of herself as a woman, for she disapproved of both active and passive suffrage for members of her own sex. In Sand's view women were political minors, incapable of making decisions because of their fundamental disenfranchisement. The women's movement could only cause promiscuity and put the home in danger. Only in the distant future, under changed social conditions, would women be able to participate in politics and share in the decision-making process.</p> <p>On the subject of Deroin's candidacy, Proudhon again spoke out, in the journal Le Peuple, taking a strong position against women's emancipation: “What woman must free herself from is not man. In our modern society there is little progress to be made in this respect. As with the proletariat, it is capitalist despotism which tyrannizes her heart and throws her into the milieu of the workshop where slowly her morale and her body are destroyed.</p> <p>And Jeanne Deroin replied in her paper, L'Opinion des femmes: "Pardon me, Monsieur, women are trying to free them selves from men.... it is not so much a question of getting women out of the workshop as a need to change the workshop itself and to ennoble it both for women and for the proletarian worker, since it is the source of work and independence."</p> <note>28. Ibid., pp. 68-69.</note> </div> </div> </body> <back> <p> Cäcilia Rentmeister is an art historian from Berlin. She teaches at the Hochschule für Bildende Kunst and is completing her doctoral disserta tion, “Woman as Sphinx,” on nineteenth-century painting. </p> </back> </text> </TEI>
Mea Culpa 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Mea Culpa</title> <author>Su Friedrich</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <div> <pb n='27' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_027.jpg"/> <head>Mea Culpa*</head> <byline>Su Friedrich</byline> <p> I used to read <title>Vogue</title> "for the photography” the way I read <title>Playboy</title> "for the articles.</p> <quote>Help keep America beautiful</quote> <cit><ref>- Cosmetics ad</ref></cit> <p>To assemble the props for this project, I spent an afternoon in the room-sized closet of Helen, a clothes maniac. When I lived with her, I was always carrying on about "the renunciation of material wealth as a primary political act"; I return one year later more humble, less certain that this renunciation is actually as easy as They make it seem.</p> <quote>We are well past the days when beauty was an idle woman's way of passing the time — and we’re secure enough to know the difference. Today, when time is something no one has enough of when women have jobs, families, and half a dozen other commitments — caring about yourself isn’t the icing on the cake. It's one of the responsibilities of everyday life to look as well as you can ... for yourself ... and for the delight of others.</quote> <cit><ref>-Vogue’s "Point of View," 1975</ref></cit> <p>Helen is a perfect resource because of her indiscriminate attach ment to all clothes. On the same day she’ll buy a satin kimono, suede pantsuit and pink mohair sweater and then pack them away and continue to wear her Hellenisms. If I were a freudian, l’d triumphantly claim her for my “clothes as a sexual surrogate thesis. But I'mmore interested in squeezing the lifeblood out of the deadly aphorism: Clothes Make The Woman.</p> <quote>Tonight, I feel as ethereal as a silken butterfly. This afternoon, I helped him change a tire. Is it magic, the moonlight, or Cheryl Baron's slither of silk?</quote> <cit><ref>-Clothing ad in Vogue</ref></cit> <p>I must remain alert during this project, wary of its seduction. have what some people consider the bad habit of rarely confronting myself in the mirror. In fact I'musually surprised to see myself. My appearance runs the short course from plain lesbian feminist to affordably classy dyke. Even these images seem rigidly codified and I am confused and dissatisfied with them.</p> <quote>Do you blame me for wanting to be a man—free in a man-made world? Do you blame me for hating again to resume a woman's clothes and just belong?</quote> <note>— Cora Anderson in 1914, who, after living as a man, in man's dress, and marrying a woman, was "exposed and ordered by a court to resume wearing female clothes <cit><ref>(cited in Gay American History)</ref></cit></note> <quote>Gentlemen prefer tuxedos ... When it's you. In your best ... double breasted satin tux...</quote> <cit><ref>- Clothing ad in The New York Times, 1976</ref></cit> <p>It’s a guilty struggle, indulging in fantasies of myself in new clothes and roles and then rejecting each of them on “political principle”: material projection of self seems at odds with a serious commitment ... And then the cycle twists and I defend artifice as a great form of subversion.<lb/> Women stride in boots.</p> <quote>Little vests are super — little fur vests, little vests in gold at night ... Don’t let anyone talk you into one of those suit-with-a-vest routines — a take-off on men’s clothes is not what it's all about..</quote> <cit><ref>-Clothing ad in Vogue, 1976</ref></cit> <quote>There is no intrinsic sin in riding astride a horse, or in wearing boots and breeches, but there is harm in violating those decent rules by which the conduct of either sex is regulated.</quote> <cit><ref>— London Medical Times, 1897 (quoted in Gay American History)</ref></cit> <p>So now, disguised as a “project,” I'mexposing myself to an overwhelming array of visual, emotional and intellectual costumes and it’s becoming very difficult to overcome the predetermined identities built into these clothes.</p> <quote>The wearing of one scent alone can become as much a part of a woman’s behavior as the way she speaks, parts her hair, wears down her lipstick ... and it's deliberate.</quote> <cit><ref>- Editorial comment in Vogue</ref></cit> <p>I usually don’t think of myself as having the same soft curves that I see displayed everywhere. I imagine that they belong to women with very different perceptions of themselves. But no ... in the right clothes l’d be indistinguishable from them. Breasts, legs, pink, smooth, a mute smile.<lb/> And then I know that underneath they’re as full of blood and guts as l'am.</p> <quote>She dresses for herself but we dress her.</quote> <cit><ref>— Clothing ad in Vogue</ref></cit> <quote>More than a way of dressing, Halston is a way of life.</quote> <cit><ref>-Clothing ad in Vogue</ref></cit> <p>Helen’s attic.<lb/> I slip on an apricot satin gown. It gleams. Soft, fantastically soft, cool on my thighs, hanging loosely over my breasts. My usual garb doesn’t exact such erotic responses from my skin. I begin to act out a seduction but it’s very unclear whom I'm seducing. I enter a male fantasy. I see more clearly than ever the motives for this madness.</p> <p>I was nine years old, reading comic books in the seclusion of my back porch. Eagerly, I flipped to the Frederick’s of Hollywood ad in the back, my fingers slowly tracing the outlines of those drawings, lingering over the firm pointed breasts and outrageously full hips. Stroking, stroking. Squeezing my eyes shut I dreamt of perfect curves and crevices, of cleavage and sculpted limbs on those crazy high heels.</p> <p>In the more discreet magazines of high school and college I recognized Frederick’s aesthetic translated into Tasteful and Chic. They had merely disguised it as “The Fresh Young Look" and "The New Romanticism."</p> <quote>In 1678 Abbe Jacques Boileau published “A just and seasonable Reprehension of naked Breasts, etc.</quote> <cit><ref>Quoted in The Unfashionable Human Body</ref></cit> <pb n='28' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_028.jpg"/> <p>Feeling guilty: "How can I worry about the world of fashion while the world out there is falling apart?" The World and The Fashion World? It’s clear how divisive and misleading man-made categories are.</p> <p>I recall the months of hours spent in Catholic girls’ high school earning the admiration of friends and the disapproval of the nuns. Their typically "altruistic" rationale for our hideous uniforms was that they were freeing our energy for pursuits more honorable than vanity, but by basing this rationale on their priorities (chastity before comfort) rather than our own, they were destined to fail. Precisely because everything was so ugly (to our self-conscious eyes) we spent that precious energy undermining the dress code.</p> <p>Red bras or naked breasts shone through the thin white blouses, high heels and gym shoes replaced the tyrannical saddle shoe, arms were laden with clattering jewelry, eyes and lips and nails changed color every day, and 3:00 brought the hysterical rush to change into presentable street clothes.</p> <quote>The consciousness of being perfectly dressed may bestow a peace such as religion cannot give.</quote> <cit><ref>-Herbert Spencer</ref></cit> <p>In the days when I should have been daydreaming about boys, I was busy admiring magazine models, my classmates, and myself. I was being trained to appreciate the artificial and real curves, gestures and textures of women, but while I never wanted that physical perfection in those to whom I was emotionally attracted, I demanded it of myself. It seemed, however, that the harder I tried to achieve that perfection, the more elusive it became. I saw how arbitrary the rules actually were; I learned to laugh and to formulate some of my own ideas.</p> <p>Powerful feelings of rejection set in: even my most stalwart friends were trying to "grow up," to dress and act “maturely." In response, I discovered nervous habits, too much unwanted atten tion, too little love, self-consciousness and ANGER.<lb/> Thanks for the anger.</p> <quote>"Dressing should be exactly that —a tasteful overlaying that brings out the best in me. And you know what: This is the year I can really be mel" We understand you at Saks Fifth Avenue.</quote> <cit><ref>Clothing ad in Vogue</ref></cit> <p>Like most mothers, mine is respectful of Culture. I once went with her to The Ballet, in old jeans, my favorite peasant blouse, and without shoes. I try now, seven years later, to remember her shame, and her rage (at me). She asked, “Why do you DO it?", sounding as if I was poisoning babies. But I don’t predicate my appearance on how effectively it will offend others. I am confronting how I alone want to dress. If I am ostracized because I dress like a "slob" or a "dyke," she mutters something about my deserving" it. They all do. The impulse to please her, to conform, is a glass splinter in my gut, dangerous to extract but fatal to ignore. What else can I do but try?</p> <p>I admit the monster in me. I salute the witch. My ancestors were proud and fierce and slaughtered. My sisters remember. We remind each other, we snarl.</p> <quote>Spot tip: to reduce a too-full upper lip, outline it with a white pencil and smudge it down.</quote> <cit><ref>Beauty tips in Vogue</ref></cit> <p>I go to Woolworths for makeup for this project. I have to work some black magic on my unkempt face. I expertly "blush on, frost my lips, sculpt my lids with manufactured nature. Why does it feel so natural to perform this ritual? I want to feel terribly strange. I want to experience it with the same bewilderment that someone from a preindustrial culture would feel on seeing the first photograph of herself, but I feel as if l’d never been away from it.</p> <quote>The Papuans, for instance, have a high regard for the vibrating buttocks of their women who early learn to cultivate a provocative walk.</quote> <cit><ref>in The Unfashionable Human Body</ref></cit> <list> <item>-First in class to shave my legs. Brave.</item> <item>— Discarded my bra with my Catholicism. Subversive.</item> <item>- Wore sandals and a long braid at the university. Intellectual.</item> <item>- Feel professional in my velvet jacket. Adult.</item> </list> <p>I see how powerfully Their definitions have defined my reactions, how much my spontaneity has been predetermined. This affects not only how I to dress but how I respond to others.<lb/> The "Ahh, I thought so” when a woman’s actions fit her appearance.<lb/> And the delightful confusion when a woman in Ladydrag gets ANGRY, gets FURIOUS.<lb/> The disappointment when gym shoes and labyris protect a hypocrite.<lb/> The disorienting pleasure when a "butchy” woman speaks tenderly to me.</p> <p>How ludicrous.<lb/> But I challenge anyone to say that she doesn’t go through the same gyrations.<lb/> I hate it. I hate it and I keep doing it.<lb/> Everyone tells me not to worry, "Everyone does it."<lb/> A lousy argument.<lb/> Whatever happened to self-definition? To inner-directed fantasy?</p> <quote>... there is a woman among the Snakes who once dreamed that she was a man and killed animals in the chase. Upon waking, she assumed her husband's garments, took his gun and went out to test the virtue of her dream; she killed a deer. Since that time she has not left off man's costume ... by some fearless actions she has obtained the title of "brave” and the privilege of admittance to the council of chiefs. Nothing less than another dream could make her return to her gown.</quote> <cit><ref>-Pierre-Jean de Smet (quoted in Gay American History)</ref></cit> <p>The danger lies in rebelling on Their terms, replacing one dictate with another. Are we really appeased now that we can wear pants to work? No ... we embrace the egalitarianism of pants and then create socioeconomic distinctions between pants, slacks and trousers, between fine and grubby pants.</p> <p>Fashion changes, but its significance remains: style costs money. We have been taught to be grateful for the “democratic” variety in our lives, but our clothes reflect our economic tyranny. Not only can few of us afford the ever-changing demands of fashion, but we are also destroying animals and the earth to satiate our insatiable "needs."</p> <p>This isn’t a fixed reality, it’s been built from egocentric and ruth less fantasies. Alter the fantasy and we alter the reality.</p> <quote>The mystery of fashion is that this sudden change of detail is imposed on women: they cannot escape it ... In matters of style, women obey some hidden law analogous to the one that decides the colors of the wings of birds or the petals of flowers.</quote> <cit><ref>in Feminine Fulfillment</ref></cit> <pb n='29' facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_029.jpg"/> <p> We must begin to believe in a value-free body aesthetic; free choice will come only when the options aren’t value-laden.</p> <quote>Im tired of sad-looking women, of drab suffragettes, of dull and unbecoming colors.</quote> <cit><ref>Valentino, clothing designer</ref></cit> <p>Trying to extricate myself.<lb/> Trying to think without Do’s and Don’ts, feminine and masculine, fame or famine.</p> <p>Growing up a Catholic middle-class white girl taught me the value of disobedience. I have a vivid sense of my difference and I want to exploit this to catalyże a reaction, to force a confrontation of values.</p> <p>My appearance is an immediate, nonverbal statement and what I do subsequently either confirms or destroys people’s assumptions; they don’t want to hear an articulate defense of my "bad habits." They want room to condescend.</p> <p>They tell me l’d "improve my chances” if I wore the right things. Chances? Is this a lottery? Who are they to decide my worth?</p> <p>I know that we need to feel okay about ourselves, but the ques tion here is using clothes to get or keep privilege.</p> <quote>... as hard times were crowding upon us, I made up my mind to dress in men’s attire to seek labor as I was used to men’s work. And as I might work harder at housekeeping and get only a dollar per week, and I was capable of doing men’s work and getting men’s wages, I resolved to try.</quote> <cit><ref>-Lucy Ann Lobdell, 1854, age 25.</ref></cit> <p>When I feel jealous of women who "survive” by wearing the right trinkets smells shoes colors, I remind myself that with the game comes the terror of losing. I had assumed that being a dyke meant not playing the game, but I'min the same trap as an obedient sister. She has to remain desirable by Their standards while I have to continually fight Their insistence that I be desirable. I fall into the trap of thinking that I had no interest in being desirable.<lb/> Of course I do, but not on Their terms.</p> <quote>There is a way of dressing— a way of looking—that to American women is like a way of life. It has to do with a certain free-wheeling casualness and dash that goes through and through and up and down.</quote> <cit><ref>-Vogue</ref></cit> <ab>Slob.</ab> <quote>... elegant clothing becomes your coat of arms, by which others will recognize that this is indeed yourself. A rag can be eminently elegant, as we see in Andalusia with the beggars ... We understand that elegance is not conferred by luxury but rather by poverty; the latter brings us close to a state of nature where nothing is useless.</quote> <cit><ref>in Feminine Fulfillment</ref></cit> <ab>Hippie.</ab> <quote>Thank you, Arthur Richards. At last, someone recognized that women prefer what gentlemen prefer. And that's the fit and quality of menswear tailoring.</quote> <cit><ref>Vogue</ref></cit> <ab>Dyke.</ab> <quote>Confidence is a Lady in a Leon Levin.</quote> <cit><ref>— Vogue</ref></cit> <ab>Ballbreaker.</ab> <quote>The new bareness ... and what it takes to wear it.</quote> <cit><ref>— Vogue</ref></cit> <ab>Whore.</ab> <p>People resent anyone who won’t dress "nicely.” We defile their sanctified spaces.<lb/> "Irreverent!<lb/> It’s just a phase."<lb/> "When I was your age...</p> <p>I am not a string of phases. I am no age.<lb/> In childhood they taught me that acceptance and success would come only with conformity. But my acceptance of myself has come only through nonconformity. They call me selfish because I don’t want to validate their “need" for discretion and propriety, their need to belong. I answer that the incessant craving to be legitimate is the corrupting force in all of us.</p> <p>I don’t want to have to dress like a man to get in.<lb/> I’m not interested in looking like a Lady to receive sanction.<lb/> I’m tired of being fooled by flannel shirts.<lb/> I'm not a feminist because of my boots. </p> <p> What are we all trying so desperately to."get into” anyway?<lb/> Who wants to rent a room in a burning building? </p> <p> * During Catholic mass, the assembled chant “Mea culpa, mea culpa, mea maxima culpa” (through my fault, through my fault, through my most grievous fault) as they beat their breasts three times.</p> <p>Thank you Helen for your clothes, and Amy Sillman and Cynthia Carr for assisting in the photography, and Jonathan Katz, <title>Gay American History</title> (New York: Crowell, 1976), Bernard Rudofsky, <title>The Unfashionable Human Body</title> (Garden City, N.Y.: Anchor Books, 1974) and Jean Guitton, <title>Feminine Fulfillment</title> (New York: Paulist Press, 1965).</p> </div> </body> <back><p> Su Friedrich teaches photography to the women at Bedford Hills (N.Y.) Correctional Facility, is a freelance photographer and lecturer and a mem ber of the Heresies Collective.</p></back> </text> </TEI>
Connections 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Connections</title> <author>Miriam Schapiro</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <pb n="18" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_018.jpg"/> <div type="essay"> <p> I have met women all over this country who love art. They were teachers or students at schools and museums where I came as a visiting lecturer, or where there was an exhibition of my work. Often as I talked about my work, explaining my idea of “connection” to them, I asked for a "souvenir” handkerchief, a bit of lace, an apron, a tea towel — some object from their past which they would be willing to have “recycled" in my paintings. I saw this as a way to preserve the history of embroidered, often anonymous works which are our "connection" to women’s past. I have used the pieces women sent me in these collage-paintings. — MIRIAM SCHAPIRO</p> </div> </body> <back> <p> Miriam Schapiro lives in New York City, is a painter and member of Heresies Collective. She will be teaching at the Tyler School of Art in Philadelphia in the spring of 1978. </p> </back> </text> </TEI>
Lament on the Eve of Her Daughter's Birthday 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Contributors</title> <author>Collective</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <pb n="47"/> <div type="essay"> <div type="poem"> <head>Lament on the Eve of her Daughter's Birthday</head> <byline>Estelle Leontief</byline> <lg> <l>My head doesn’t ache </l> <l>no one pulls out my fingernails </l> <l>what I eat sits easy</l> </lg> <lg> <l>On this long </l> <l>blue night each year </l> <l>leven forget that </l> <l>hard hard laboring</l> </lg> <lg> <l>a magician </l> <l>hacking a woman in two</l> </lg> <lg> <l>If I lie still </l> <l>your thirty-six years </l> <l>blow my mind.</l> </lg> <lg> <l>II try to reach you </l> <l>I'm too short</l> </lg> <lg> <l>But now at last </l> <l>night darkens </l> <l>into day</l> </lg> <lg> <l>and you may wish for </l> <l>what you want </l> <l>What is it</l> </lg> <lg> <l>Write me </l> <l>Tell me something </l> <l>Sing</l> </lg> </div> <div type="poem"> <head>September Solitaire</head> <byline>Ann Lauterbach</byline> <lg> <l>There are always added difficulties: unwashed glasses, </l> <l>the box with some sweaters, the floral arrangement </l> <l>in the kitchen, the kitchen floor. It was a grid </l> <l>of pale blue and gray linoleum; it no longer exists. </l> <l>All of us move in time for winter. </l> <l>Things are most dangerous when habits are kicked; </l> <l>birds, and the way you imagine.</l> </lg> <lg> <l>We tell stories. </l> <l>This to restrain the sense that we would give in </l> <l>too easily when the time came. The time had come. </l> <l>The first red and the first green are not the same; </l> <l>between death and birth are radical colors, </l> <l>of which the trees are stain. I told stories for hours, </l> <l>each made from imminent, rendered places; talk itself </l> <l>a terrain. I recall games: ducking and kisses and tails. </l> <l>Someone is always blinded. Someone was removed in a chair.</l> </lg> </div> </div> </body> <back> <p> Ann Lauterbach is a native New Yorker. She has just compiled her first collection of poems, titled Chalk. Estelle Leontief was poetry editor of Colloquy magazine, has published two books of poetry—Razerol and Whatever Happens—with Claire van Vliet of Janus Press, Vermont. She is now a reader of poetry and fiction for the Partisan Review. </p> </back> </text> </TEI>
3 Short Fictions 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>3 Short Fictions</title> <author>Lucy Lippard</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <div type="essay"> <pb n="22" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_022.jpg"/> <head>3 short fictions</head> <byline>lucy r. lippard</byline> <div> <head>1. the cries you hear</head> <p> The rocks trembled every day for over two months and in parts of Tibet a sick person or a woman who had given birth to a child was carefully prevented from sleeping. Sometimes the flower is so constructed that the insect cannot get at the nectar without brushing against a stigma which, perhaps because males tend to fall asleep more rapidly than females after intercourse, returns to stone needles. In the process of collapse the star’s outer layers compress. Lying naked in the pouring rain, our wetness the world’s wetness, our hard bodies the makings of rock. We took no photographs. The vacant plains were a featureless screen on which we projected our memories of rivers forests oceans and mountains, of elsewhere — quick! Before it....</p> <p> Meanwhile, the females of the indispensable earthquake rest quietly in the half-closed blossoms, sharing the power of sleep, oblivious to our pain. I was long in doubt concerning the origins of these conditions of stress, horror and exhaustion. That two different organisms should have simultaneously adapted themselves to each other. During the third severe shock the trees were so violently shaken that the birds flew out with frightened cries. Bubblelike cavities formed by expanding gas. Solid pieces blown violently out of the womb. Glass surfaces, brittle and gleaming, formed by rapid solidification. Touch me here. Wrinkles, pores in the earth’s skin, basalt lavas swelling from beneath, channeled in fissures, dust and ash. The cries you hear are only the continuing shock of life. </p> <p> "It is a fatal delusion which presents the earth as the lower half of the universe and the heavens as its upper half. The heavens and earth are not two separate creations, as we have heard repeated thousands and thousands of times. They are only one. The earth is in the heavens. The heavens are infinite space, indefinite expanse, a void without limits; no frontier circumscribes them, they have neither beginning nor end, neither top nor bottom, right nor left; there is an infinity of spaces which succeed each other in every direction.</p> <p> A mountain chain is an effective barrier. The slow movement of underground waters carrying silica into sandstone. Limestone metamorphosed is marble. Bedding planes obscured and mineral impurities drawn out into swirling streaks and bands, swirling streaks and bedding planes obscured. He is tall and arrogant, questioning and vulnerable. Cold tar will shatter if struck but will flow downhill if left undisturbed for a long time. Shattered and flowing, flowing and shattered if struck. Hard things that were soft. Soft things that were hard. Hot things that were cold. Cold things that were hot. Wet things that were dry. Dry things that were wet. Old things that were young. Young things that won’t be old. It stops somewhere? Prove it.</p> <p> Under the mist a solid prose of rocks, rocks and water, hard rocks and flowing water, safe rocks and treacherous water. Rough rocks, motion frozen to the touch, thorny black volcanic piles, a vein, an aggregate, a channel worn away, a pit blown or swirled out, grains, knife edges vertical. And smooth rocks, covered with pale and slippery algae, soothed to a fine old gentleness. Patterns of water, ancient muds, slow curves.</p> <p> In some alpine mountains high above the timberline, sheets of frost-shattered rock fragments creep slowly down the valleys making curious tonguelike forms. My mouth. My tongue makes love to my mouth, searching its cavities for the softest, wettest places to fondle, sliding past and over the hard sharp teeth so that it hurts a little, overlapping, lapping its own roughness, slipping across the toothmounds under the gums and falling into the dark throat. Craving in. Prose, not poetry. Its tentacles reach in more directions at once, from a solider base, at a natural pace. It circles and radiates, has a core and a skin and a network of capillaries instead of only arteries. Memories wear away the present to an older landscape. My leg, thicker at the top than at the bottom, stronger at the bottom than at the top, stranger at the top than at the bottom, more useful at the bottom than at the top. At the top, plump flesh held firmly between thumb and forefinger, a few long fine hairs on the broadest whitest part. Smooth and soft and secret lining where other hairs intrude from other sources - darker, coarser. A crease separating the leg from the rest of the body, a crease that changes character as the leg is used for <pb n="23" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_023.jpg"/> different things, a soft crease when I am sitting, a mysterious crease when I am lying with one leg curled to my stomach, no crease at all when I am walking, but creased again when running, sometimes. A taut surface when held back, a valley between bulges when not. A leg slimming gradually to a knotted center where the bones assert themselves. A hard hairy hilltop, then a wrinkled old topography flattened into valleys. A leg that swells again, harder this time, smooth again, with a neatly turning strength of its own, a leg that is straight in front and soft-hard in back, flat then rounded, a leg that finally gives way to ankle and foot, the working parts detached from pleasure places above. The bony not so pretty skeletons of motion, fleshed only around the ankle bones, arched over the instep and finally twice in touch with the earth.</p> <p> Each major time unit is brought to a close by orogeny, also called revolution. Disturbance, disruption, disintegration, under pressure. Even the strongest rocks may develop fractures. Deep decay and rotting of igneous and metamorphic rocks, from blocks to egg and sphere shapes. Water entering into union with minerals. Metamorphic rocks have undergone kneading and shaping, baking and shaking, shale turning to slate when split by cleavage, by slippage, during the process. Slate when struck sharply rings metallically. Clay comes in all colors. Playing the geomorphic role of a weak rock, staring at each other but not speaking until finally. A poetic geology to take back to the red hills, white clay to merge as pink. Isolated submarine mountains, the ocean floor pulled apart here, causing a rift, a certain cruelty. Alone is better I say. Then stop the invasion. If you see two scorpions together they are either making love or one of them is being eaten. Aries energy stepped back into the earth. My rock, your mesas. Ice needles pry apart joint blocks, tremendous pressures and bare high cliffs fall off into conical forms, especially in dry climates. Niches, shallow caves, rock arches, pits, cliff dwellings. Come now. Yes/No. In deserts, flash floods and earthflows, mudflows result from the inability of the dry land to permeate the perma frost. Shrinking and swelling. Given sufficient time, barriers can be broken down and new topographies arise. An unbridgeable gulf does not exist between organic and inorganic matter.</p> <p> Drift, and erratic boulders are ascribed to mineral richness, to the action of great waves, but women’s tides told in the caves refute such theories. Play pale beyond. In a climate warmer than that we warned each other, islands separated from ice cover by a wide expanse of ocean, foregoing clubs for quieter power, fleshed fat and knowing. Warm interglacial leaves, closer to the fires, hands in a ring, shadows on the ceilings, circles drawn at dusk, footsteps from below. The occasional peculiar transportation of boulders in a manner not in harmony with what we see ice doing at the present time. But little girls are crafty. Our laughter pits the ocean floor. Echoing with pebble talk, scratched on anemones. Walls curving inward toward us. No windows. Pictures nonetheless. Melted between sisters in collision. Only global catastrophes could have brought about that smoothness. Only torrential rains, wet hair, wet cheeks. Each other. Barren stone and fragmented debris stops here, swept back while lakes and valleys are dug out by other women. Each a specialist in her field. What generates the enormous forces that bend, break and crush the rocks in mountain zones? What indeed. Women’s cataclysmic work, traced by fingers in the meteoric dust. Giving birth to each other. Excessive.</p> </div> <div> <head>2. into among</head> <p>Stepping down and out. Someone else can move into this house. It looks o.k. from the outside but the inside needs some work. I only regret how long it took to get down those stairs to the basement. Overhead the pretty flowered curtains make wavered patterns on the sunny floor. A tomato is rotting fuzzily in the icebox drawer and other closets capture other odors, other faults. Under the bed dust gathers roses smell acrid. The sheets at the hamper’s bottom were stained last winter, not since. l’ve opened the windows but not the doors. It’s all yours, if you want it.</p> <p> Nesting fantasies. I am high in the tallest tree in the world and it sways in the wind. Exhilarating, precarious. I cling to my egg which is disguised as the sea. When the fish hatches I swim through the air until I find a cave, brown, humid, and grainy, where after a night with the boulder another egg is laid, this one transparent. l’m happy watching the beginnings of a new dream. It sometimes has petals, sometimes blades. One morning the walls are opaque and that’s that. Dead leaves turn to stone and I would leave but for the field of snakes that writhes beyond the entrance.</p> <p> Shuttered. Unhinged. Falling off the roof. A nice white clapboard house with a soft green lawn, lace curtains at the windows, roses on a trellis over the door, the old fanlight sparkling when the light hits it. We need a very long time to move up the flagstone walk. In the process a war takes place, peace reigns, men land on the moon and women defend it, black blankets of oil are thrown across birds’ coffins and the sea stinks. Still the little house remains, the sun always dappling its freshly painted walls, the sound of piano scales twinkling delicately behind the curtain of warmth. When we reach the door we are exhausted, gray, crippled, and in pain. The doorknob, though brilliantly brass, is cold to our touch and the door sticks. It takes our last strength to open it and throw ourselves across the threshold onto what should be a rosy hearth but is instead a deep dark well, the bottom of which, at this telling, we have not reached.</p> </div> <div> <pb n="24" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_024.jpg"/> <head>3. headwaters</head> <p> <quote>For reasons of their own, women are suspicious of diving and frown on their menfolk going down. D—, who has starred in several underwater films, has never received a fan letter from a woman. </quote>-<ref>Jacques Cousteau</ref> We are already down there. We have already gone down, our breasts bumping the boulders struggling to rise. Our menfolk don’t know where to send the fan letters. Can dive, but not delve. Perhaps far down are boundaries between layers of water not obvious at the surface of the sea and quite independent of surface phenomena. Not just still waters. Rapture of the depths. At a town called Headtide there is an old white church unconsciously marking with its spire the spot where the Sheepscot River, short and wide, a tidal estuary, comes to an end in a stony brook and then goes underground. The term tidal wave is loosely applied. Some rivers braid long plaits of sand with thinning streams, and others — always full, muddy and sated — lag in fat banks. Tides are most marked when the sun is nearest the earth. Tides thigh tickling, oozing over the edges and hummocks, a band of foam, making liquid land. Creeps up me toward immersion. Hold your waters. Making waves, seeing red. I flow she flows we flow. Lunar and solar tides coincide, are fully cumulative only twice each lunar month. While fans unfold, snap shut, and leave the flowers no escape. Underwater, irregularities rise and, cursing, fall. Two or more wave patterns at the same place and time. There can, however, be independent waves. And long rivers pass through different landforms like changing lovers. Impatiently cutting gorges, willing waterfalls and rapids to flatness. Unfamiliar bodies hurled at each other. Beneath the rumbling, boulders lurk and lurch, needing a pool.</p> <p>My traveling dreams are washed in foreign waters. In one I swim along a beach. The water is warm and the same pale blue as the sky — bleached but not burning. Behind me swims a large black dog and before me floats a group of exotic birds, brilliant pink feathers wet but still light, raised above the water in a tangle of wings. The end of the beach is distant; all sand, no rocks or trees in sight. My swimming is leisurely but purposeful. In another dream I wake alone and rush to find my lover. He is in the bathtub and I yell desperately at him: Did I sleep alone last night? Did I sleep alone last night? Another night, my child, my lover and I are going to see a lighthouse through a swamp. The waterway is not very wide. Trees hang dense over the edges but in the center where we swim it’s blue, unshaded. A long trip to make boatless, but we are swimming, accompanied at times by a fat friend. l’m not struck by the fact that we are swimming so much as by the length of the trip, not tired so much as a little bored. Once again the water is tepid, body temperature, lulling. The lighthouse when we get there is on a broader bay, still inland, mountains in the distance. There is some talk of leaving and returning in the afternoon. But there isn’t time.</p> <p>The waters broke with no warning. Lie still, pretend while it crests. Above our caves the divers’ forms pass dimly, unaware. Destructive advances of the sea upon the coasts have two distinct origins: dreams like sunwarmed flats when the tide comes in very slowly, visibly; earthquakes and storms. Neither related to the tide, and often not actually waves. Floating, I am a fleshy layer between sea and sky. Why go down? Letters melt and corals build. Why go down and not feel the moon in the pit of your stomach? Or hear ripples whisper on the floor? The ocean’s bedrock blurred. Unexpected, the cold and purifying northern channels. With no warning, water on the brain, the belly, breast and buttock. Internal waves stained pink affecting everything below above. Doesn’t hold water, that’s all. Divers ring their bells but fail to reach us, cannot pierce the bubbles that contain them. And we are already down there, friendly, calm, constructing small places in which to wait, making room for others, settling in, exchanging disguises, rearranging caves and mountains, waiting until they stop pouring oil on the waters, till they stop throwing rocks, sinking ships, turning our tides.</p> </div> </div> </body> <back> <p>Lucy Lippard is a feminist art critic who also writes "fiction"; it has been published in Center, Big Deal, Tractor, The World and elsewhere. </p> </back> </text> </TEI>
Body, Space and Personal Ritual 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Body, Space and Personal Ritual</title> <author>Sherry Markovitz</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <pb/> <div type="essay"> <pb n="19" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_019.jpg"/> <head> Body, Space and Personal Ritual</head> <byline>Sherry Markovitz</byline> <div> <p> My initial ideas for this project con cerned the observation and documentation of a 24-hour period in a woman’s life, long enough to allow a certain time, body state or space to dominate. To date I have documented six people and am still in the process of observing four of them, including my mother, Rose, my sister, Merilyn, and my sister’s four-year-old daughter, Anda (who occupies one bedroom and one playroom).</p> <p> In my photographs I try to locate the feelings and sensations of my subjects, though sometimes it is just a scanning process. I am concerned with a person s experience at a particular time and in a particular space. Past and future apply only when they obviously relate to the present; for example, a woman in her ninth month of pregnancy who has gained 40 pounds has a different energy than in prepregnancy, and her movements become cumbersome, fewer, and more focused.</p> <p> My selection of subjects has been critical. I have chosen for the most part by instinct. External circumstances, such as economic constrictions, are major factors in occupation of space, so I have selected women from diverse economic, educa tional and cultural backgrounds. There is also a wide variety in the degree of intimacy, as my subjects range from my mother and sister to total strangers. I am documenting a lesbian couple because women living openly with other women in love/sexual relationships is one of the important recent changes in women’s life styles. I had thought about documenting a transsexual and a pair of identical twins, but I finally decided that such unique situations emphasized the anomalies and detracted from exploring the essentials of body, space and personal ritual. I always ask, "Why do you want to be documented?" The answers often contain vital clues. Some people just want to be observed. Some have a fantasy or a political-ideological commitment they want to project through their space, personal ritual and body movement. For instance, many feminists have approached me, but I want to document women’s space, not just feminists’ space.</p> <p> Two events have been significant in my use and understanding of my own space since I began this project. First I painted my bathroom and then I moved from my 500-square-foot home to a new apartment with 1200 square feet, which I trans formed into a fantasy of space that I had had for a long time —large, empty, quiet, low stimulation. The second event was being hospitalized for ten days with a serious pelvic infection. I was given a little tray with powder, cream, toothbrush, toothpaste, mouthwash and cup. Nurses and doctors took over the care of my body, which was so much a part of my personal ritual. I adapted to this external ly imposed space, but as I recovered, I began to reassert my control over my personal ritual. When I shared a room, it was with a very sick woman who had cancer. I observed what happens when the disintegration of a person’s body breaks down her ability to control her own space and ritual. I listened to the nurses and doctors repeating how good she smelled from baby powder. I began to think about this and what happens in prisons, mental institutions, hospitals, nursing homes, dormitories, the army. I thought about how a person maintains her personal ritual or utilizes space in such involuntary circumstances, what a woman takes with her to such places.</p> <p> My project is primarily concerned with how a person takes up space, whether or not she seems to fill a room, how her use of space relates to that of her husband, children or roommates. I had trouble understanding one woman who seemed perfectly at ease with her body; perhaps it was just that which lessened her need to order or definitively affect external space. </p> <p> Some people don’t make good subjects be cause their lives are too much in flux or too disintegrated. With others it is hard to separate what the subject believes to be true from what I observe.</p> <p> It is important to me that the subject really understand what the project is about on her own terms. I have to feel comfortable with my subjects, to feel that I am not intruding too much. What they do and don’t want photographed is informative, though I don’t want to be controlled by what someone wants me to see. Concealment is a delicate issue I've thought about a lot. The project is really about disclosure, about how much a woman is able to disclose to the artist. As soon as the camera comes in, there is in evitably a certain amount of playacting. I have to understand that, and at the same time minimize my presence to get as real a picture as possible of everyday ritual and space.</p> <p> The key to personal ritual is found in different places for different women. It may appear in the areas to which a woman devotes the most energy during the day. And yet a dirty kitty-litter box may say something more important — or plants (when they are watered or moved into the sunlight), or the humidifier (the ritual of keeping it filled and the space at the proper temperature), or the medicine cabinet, the phone, the television set, a workspace, shopping bag, refrigerator, cupboard shelves, cosmetics drawer. The pace of the daily ritual is particularly important. In one case the care and time taken to wrap a head of lettuce indicated general “compulsive perfection." The same woman told me that she had once sent out her cloth napkins to be cleaned and pressed for her husband’s birthday dinner party. They "didn’t look right" when they came back from the laundry, so she rewashed and reironed all of them. </p> </div> <div> <pb n="20" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_020.jpg"/> <head>Rose</head> <p>Jewish, 57 years old, married for 37 years, three grown children, part-time housewife recently returned to nursing on part-time basis. She has started studying Spanish to understand her non-English-speaking clients and volunteers her nursing services periodically at a second clinic. Still spends a great deal of time cooking, cleaning, and caring for people (husband, grandchild once a week, often visiting children). The day always starts early and goes quickly, with great activity. Her husband, a car dealer (age 63), used to put in an eight- to 12-hour day. He now comes home earlier and they have (to her joy) more social life. Rose also entertains her friends at home (a two-story house) with weekly dinners of lox and bagels (paid for on a rotating basis by "the girls”), followed by a Mah-jongg game. Bedtime is usually nine or ten, sometimes earlier, but never without an evening bath. Probably the greatest changes for her at this time are the recent loss of her mother, the coming of a second grandchild, and the full transition to "grandmotherhood."</p> </div> <pb n="23" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_021.jpg"/> <div> <head>Merilyn</head> <p>Married, 34 years old, a mother, expecting her second child, working on a Ph.D. in human development—"busy, researcher, clinician, social worker, psychologist, woman." She feels a lot of pressure to fulfill many roles. The pregnancy has made both physical and mental activity more difficult, with many days needed for rest and many nights to bed early. What is obvious about Merilyn is the pleasure and time she takes for personal ritual, both alone and with her family. The white space, although designed by her artist husband, is also an expression of her own aesthetic — it comes from the need to create a sanctuary. In her demographic form for this project, she describes her marital status as "a lot, happy, traditional, non-traditional"; her ethnic background as "a lot (chicken soup)"; her religion as "sometimes." </p> </div> </div> </body> <back> <p>Sherry Markovitz, age 29, is an artist living in Seattle who works photographically with themes of family and sex differences.</p> </back> </text> </TEI>
Inside/Out: A Return To My Body 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-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?> <?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css" title="LEAF" ?> <TEI xmlns="http://www.tei-c.org/ns/1.0"> <teiHeader> <fileDesc> <titleStmt> <title>Inside/Out: A Return to my Body</title> <author>Sue Heinemann</author> <respStmt> <persName>Eowyn Andres</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021-2024)</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 (2021-2024)</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 (2022-2023)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>Editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Valeria Riley</persName> <resp>Editor (2024-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>Valeria Riley</persName> <resp>Editor (2024-Present)</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-2024)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Kelly Troop</persName> <resp>Editor (2023-Present)</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> <respStmt> <persName>Olivia Wychock</persName> <resp>Graduate Editor (2024-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>Patterns of Communicating and Space Among Women</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> </teiHeader> <text> <body> <div type="essay"> <pb n="12" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_012.jpg"/> <head>Inside/Out: A Return To My Body</head> <byline>Sue Heinemann</byline> <p> Another term we used a lot was "kinaesthetic awareness." The kinaesthetic sense has to do with sensing movement in your own body, sensing your body's changing dynamic configurations. But it's more than that. - Simone Forti, Handbook in Motion</p> <p> I remember my first class with Elaine Summers, a New York dancer whose teaching focuses on kinesthetic awareness. As I lay quiet on the ground, eyes closed, Elaine led me on a journey through my body. Can you feel your toenails? Your metatarsals? Knees, thighs, on up through eyebrows and hair. Amazing how much of my body I couldn't feel —no sensation. As if parts of me had just disappeared. No calves, no armpits, no eyelashes. And wonder how many of us really sense our bodies as integrated with our selves. Do we only acknowledge the body when "it" hurts, when something's "wrong"? In how many ways have we learned to disown our bodies?</p> <p> I think of how we tend to enthrone our minds, all-knowing. The body as a tool, only necessary to get work done. Or the body as an object, to be looked at, admired, displayed. The body remains an accessory, not integral to our definition of being. Just to speak of body sensations, of how emotions are felt located specifically in the body arouses skepticism. And I wonder if it is even possible to convey what "listening" to your body means to someone who has not experienced it. The difference between knowing something intellectually and understanding it through your feeling in your body. </p> <p> Just as someone who has never seen the color yellow has no way of conceiving what that color is like, people bound into specific body controls cannot experience the vivacity of bodily freedom until they break those controls. <note>1. Ann Halprin, "Community Art as Life Process," The Drama Review (Sept. 1973), p. 66.</note></p> <p> Summer 1975. I went to California to participate in Anna Halprin's dance workshop. Anna explains:</p> <quote>In our approach to theatre and dance, art grows directly out of our lives. Whatever emotional, physical, or mental barriers ... we carry around within us in our personal lives will be the same barriers that inhibit our full creative expression..... I work with the notion that emotional blocks are tied into our physical body and mental images..... When a person has reached an impasse we know something in their life and in their art is not working. What is not working is their old dance. The old dance is made up of imprints imbedded in the muscles anc nerves that is reflected in behavior patterns manifested in the way that person participates, interrelates and performs their life and their art.<note>2. Quoted in: Frañtisek Déak and Norma Jean (Déak), "Ann Halprin's Theatre and Therapy Workshop, The Drama Review (March, 1976), p. 51.</note></quote> <p>Each morning we performed "movement ritual," a series of exercises through which we listened to our bodies, "hearing" how we felt. According to Anna, "Daily movement ritual is a way of becoming aware of self, of your body and all the spaces and areas of your body, what you feel like and where your mind is."<note>3. Anna Halprin, "Life/art workshop processes," in Taking Part by Lawrence Halprin and Jim Burns (Cambridge: MIT Press, 1974), p. 174.</note> One <pb n="13" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_013.jpg"/> morning at the end of movement ritual, Anna told us just to let our bodies move themselves, without imposing any preset pat terns, without interfering with notions of what might look "graceful." I lay there, not thinking about how to move. I felt my legs gently pull apart, opening up my genitals, and my pelvis tilted under, slowly lifting my torso upward and back down. The experience was both real and unreal, as if my body were literally talking to me, telling me how I felt. I watched, observing how my body wanted to unfold, to open out, my pelvis widening, my chest expanding. I got scared. And I retreated, my body closing in, curling up tighter and tighter. My "dance" spoke to me about my female sexuality in a way my head had never allowed.</p> <p> My body as a woman. A biological given. Each month I go through the menstrual cycle. I sense the changes inside my body, the shifts in mood. My lower back tenses in anticipation, as if to inhibit the flow, to deny my natural female functioning. Is that a learned behavior? Clara Thompson, a well-known analyst wrote: "Because menstruation is obvious and uncontestable evidence of femaleness, many neurotic attitudes become attached to it; many painful menstrual periods are not due to organic difficulties at all but to protests against being female.<note>4. Clara M. Thompson, On Women (New York: New American Library, 1964), p. 25.</note>"" The secrecy of menstruation, not to be mentioned, not accepted. If I let my lower spine and pelvis move slowly, unrestricted, as they want to move, I can allow the flow to happen. Without the cramps of protest.</p> <p> Menstruation — a sense of inner rhythm, an obvious connection between my body and my being. And I wonder if the visibility of this connection, month after month, makes it easier for women to get in touch with their feelings through their bodies. Margaret Mead notes: "It may be that the fact that women's bodies are prepared for a so much lengthier participation in the creation of a human being may make females — even those who bear no children — more prone to take their own bodies as the theater of action."<note>5. Margaret Mead, "On Freud's View of Female Psychology," in Women & Analysis, ed. Jean Strouse (New York: Dell, 1974), p. 127.</note></p> <p> I think about Erik Erikson's article "Womanhood and Inner Space, and the controversy it raised.<note>6. Originally published in 1968, reprinted with a reply to criticisms in Women & Analysis.</note> Believing that play represents the child's experience of her/his own body, Erikson found that the differing spatial configurations of play scenes constructed by children reflected the girls' preoccupation with inner space (womb) and the boys' with outer space (penis). In a recent replication of Erikson's study, Phebe Cramer concludes, "In other words, the exciting events of a boy's life are exterior — and here I would say exterior to his own body ... Girls, on the other hand, focus on the interior. Excitement occurs within...."<note>7. Phebe Cramer, "The Development of Play and Fantasy in Boys and Girls," in Psychoanalysis and Contemporary Science, Vol. 4 (New York: International Universities Press, 1975), p. 561.</note> I read this as a positive assertion. My body is constructed differently from a man's. The sense of inner space —not a void, empty, waiting to be filled, but a possibility, in touch with growth, alive, whole.</p> <p> My body as a woman. Have I learned to hold my body in a particular way because I am a woman? How does my stance conform to and reinforce how I am supposed to feel as a woman? In Elaine Summer's class I was working with my shoulders. The exercise: to stretch my arm out from the shoulder joint as far as it wanted to go, then release it slowly back to center. Repeating this, turning my arm, rotating my shoulder first in, then out. Afterward my shoulders relaxed, heavy, weighted on the floor. Yet when I stood up, I felt vulnerable, my chest, my breasts exposed. Confusing instructions ran round my head —to be a woman is weak, you must not be weak, you must not show you are a woman. And I observed my shoulders rise in tension to protect me.</p> <p> A friend told me that once, while working with her shoulders, she reexperienced her teenage embarrassment at being flat-chested. She remembered intentionally caving in her chest so no one would notice her "deficiency." Expectations of how to be a woman. Elaine mentioned watching a little girl running around, doing cartwheels, moving freely, naturally. The girl's mother called her over to walk beside mother and grandmother. The little girl's body stiffened, her "activity" constricted, as she readily assumed the pose of "woman" in imitation of her mother and grandmother. Three generations — a legacy of how to behave as woman. The little girl sits demure, hands on her lap, ankles crossed — do not fidget. All those messages. And how do they make me feel as a woman?</p> <p> My body as a woman. I return to Anna Halprin's workshop. After three weeks of working together, the women and men separated to find out how we experienced ourselves as groups, women interacting with women, men with men. The women began with a rap session. Tentative, sensing each other, a preliminary.</p> <p> Anna then led us through a "movement preparation," to take us inside ourselves. While doing the exercise, we were to visualize our "life histories as women, to become aware of our woman hood. We worked in pairs, focusing inward by concentrating on our breathing. I sat on my partner Sara's chest, pressing against her shoulders as she exhaled, letting go as she inhaled. Then, in another exercise, I gently pushed down on Sara's stomach as she breathed out. When she inhaled, I raised her up, my hands grip ping behind her, opening out her chest ... pulling her toward me as I lay back on the ground ready to exhale. Repeat, reversing roles in seesaw alternation. Release, letting go — expansion, taking in. A natural rhythmic cycle at the center of my being. And yet how hard it is not to try to control this vital process, not to interfere. Letting go, giving up freely, "passive"; taking in, open ing up fully, "active" —the simple process of breathing acquires connotations. Do I resist exhaling, stopping short, afraid of being "passive"?</p> <pb n="14" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_014.jpg"/> <p> Often, doing the movement work, one associates in images. Each of us drew the images evoked by the exercises, and we showed our drawings to each other, relating how these images reflected our experiences of ourselves, our experiences as women. Dana had depicted a child-woman standing small before an enormous closed door, surrounded by empty space. No mother to greet her. Alone. On her own. Alice had drawn a little girl seated in a yoga position with her arms held tightly against her body. She explained that at 31 she felt "too young" to have children, that she herself was just a child. Alice looked at her breasts in disbelief; she couldn't be grown up. My own drawing showed an interior space —delicately pasteled, tenuous lines flowing into and around each other. Scribbled flames of orange-red anger surrounded the inner sanctum, threatening to penetrate, to over whelm it. And all of this was rigidly encased in thick black lines ...contained.</p> <p> Some of the women danced out their visualizations. The process of drawing our responses to the original activity and then using these drawings as a score for another dance encouraged a dialogue with our experiences. Melinda had sketched an incident from her childhood: while trying to prove her strength by climb ing a tree, she had fallen in front of her father and sister (her sister turned away from her in disgust). She asked us to call out conflicting instructions —for her to be a "lady" or a "tomboy." At one point someone yelled, "You won't have any boyfriends. Melinda lashed out at this voice and burst into tears. She closed her dance by convincingly repeating Anna's words, "I can cry and still be strong."</p> <p> Marlo's dance was last. Her drawing was covered with words: "you can't get out," "push me." Like Alice, she explained she felt "too young." In response, we formed a birth canal, offering resistance as Marlo tried to crawl between our legs. Several times she stopped, frustrated, and we taunted her gently, urging her on. Finally Marlo reached Anna, who was waiting quietly at the other end. But Meg, the last woman in the canal, still held onto Marlo's legs. When the two separated, Meg curled into a fetal position. The group gave birth to twins. Humming softly, we became a chorus cradling the two women. Marlo rocked, nestled quiet in Anna's arms. Meg, in contrast, needed to laugh so that she could cry. And those of us surrounding the two women were no longer simply performers enacting a score. We were participants involved in a drama —not fiction but real. Each of us was Meg and Marlo, woman finding her self, woman reborn. Woman secure in the presence of other women.</p> <p> The following day our movement preparation focused on how certain feelings correlate with specific body positions, how emotional responses are locked into particular body attitudes. We sank slowly, vertebra by vertebra, from a standing position, curling tightly into a ball, then opening out, spread on the ground. As we continued to shift from open to closed positions, we were told to imagine a man in our lives looking at our bodies and to note how we felt about his gaze. I saw first my father, then my friend Bob watching me. Again the feeling of exposure as my chest and pelvis expanded wide. As if by opening, I were to give up my self. My arms reached to hug my knees to my chest. No, I would not show them my body, my femaleness.</p> <p> Finally we spiraled on the ground, one leg rotating across the body, reaching forward, the corresponding arm rotating out, reaching back. We explored this movement, making it more and more sensuous, twisting slowly, luxuriously, until we were dancing our love for our female bodies, accepting our sexuality. Turning the torso, tentative at first, reaching down to caress an ankle, a calf. Flowing from one movement to the next, exploring the fullness of the chest, the length of the neck, opening up to new possibilities of movement, new ways of being. Each woman performed for the others, sharing her own discovery of the beauty of her body, of her self. A celebration.</p> <p> In contrast, we spent the afternoon dealing with aggressive energies, with what Anna called "self-hate." We worked again in pairs. Alice lay down, hands beneath her head, elbows on the ground. As she tried to lift her elbows up to bring them together, I offered resistance by pressing down on them — not so much that she couldn't perform the movement, just enough to make it a struggle. While striving to raise her elbows, each woman was to let out a sound as a way of releasing energy and vocalizing her emotional response. A welter of groans, screeching into shrieks, often climaxing in tears.</p> <p> Again we drew our experiences and danced them out. My image was a mountain, closed off in dense blackness, impenetrable, with a tiny figure struggling desperately all alone to the top. A pretense of strength. The barrier from my earlier drawing ...I am afraid to cry, afraid to show "weakness." I keep telling myself I can make it, I can make it, I don't need anyone. So I grit my teeth, holding my feelings in, and lift my elbows... To perform this score, I asked several women to hold me down so that I couldn't get up. How real this "game" became. Despite the resistance, I was stubbornly determined to stand up. I couldn't (wouldn't) let any sound out, let anyone know how I was feeling. The others' taunts hurt me —"how constipated she is," "you don't want to take up our time," etc., etc. — but the hurt remained bottled up inside. Sure, I might have simply told the others to stop at any time, but (psychologically) I couldn't. And I reflect on Anna's insistence that dance is a direct expression of one's life. That the same emotional blocks that restrict our everyday functioning also limit our movement.</p> <quote>I have people clearly looking at their old dance, confronting it and accepting what it is and by dancing it, experiencing that it is not working. Once this has happened, all that vital energy locked up in the old dance is rechanneled as energy and motivation to be used in creating a new one.<note>8. Anna Halprin, quoted in Déak, p. 51.</note></quote> <p> After two days of separation, the women and men came back together. Each group presented its experience to the other. The women chose to perform in a redwood grove. First we sketched out a collective score, each of us offering suggestions as the plan took shape. The atmosphere of our setting was compelling ... the silence, the needle floor muffling every footstep. We decided to make that silence the core of our dance — no words, no sound. Other elements impressed us. We noted the trees towering upright, the light softly filtering through, the sacredness, the timelessness of the place. We wanted to merge with this environment without invading it, to recognize and respect its power as <pb n="15" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_015.jpg"/> part of ourselves. And we wanted to convey what the two days of being together had meant to us, how our experience as a group had strengthened us as individuals.</p> <p> We began our performance separated, each woman dancing her self in relation to the surroundings. I snuggled myself inside a tree stump, needing enclosure within the vastness around me. I couldn't see the others. Yet I felt their presence, I felt joined in experience to them. And I became more confident; I rose to meet the trees, standing straight and tall. My hands reached out to clasp Alice's. We walked toward each other, slowly, silently, deliberately. Other women too began to approach each other, linking hand to hand. Soon we formed a chain, and we wended our way, step by step, downhill. At one moment we paused. Sylvia stood alone, below us, sunlit on the dust-covered road. She just stood there ... silent, still, the only movement the rising and falling of her chest as she breathed in and out. That was her dance. And her dance spoke to all of our experiences. A sense of inner strength, not assertive, just present. An inner rhythm, in tune with, part of the world around. An openness both expand ing, filling the space, and taking in, absorbing the space. One.</p> <p> The men's dance was totally different. I find myself resorting to clichés. The men performed in a cove at the bottom of a sharp cliff, where the sea battled the rocks. The women watched from above. Each man stood isolated on his own rock. Each was costumed according to his self-image. Arthur posed erect, legs firmly astride, a warrior, face painted, high above on the tallest rock. Lower down, on another rock, Jamie writhed, moaning and shrieking, shaking his seaweed hair. Each man did a specific movement which the others then imitated. A male "chorus." Each note sounded, then echoed back in differing tones as each man adapted the movement to his own body. The shouts, the power flung amidst the waves pounding rocks. The aggressiveness, the "maleness" struck me.</p> <p> One by one, the men disappeared around a corner. Arthur jerked his rattle in a frenzied dance, Jamie plunged into the icy water to swim away. We could only hear the triumphant cries of the tribe gathering. Then they reappeared, to enact a healing ritual. How different from the women's ceremony with Meg and Marlo. The men danced around each other, they seemed to avoid touching each other. Their gestures were bound; less gentle, less direct than ours had been; their mutual support less overt. And then they invited us down to the rocks to be healed. To be healed by the men? Was this really a meeting, equal to equal?</p> <p> I still wonder that so many women went down. The atmosphere created by the men's dance was alien, alien to me as a woman. To go down was to enter a territory already staked out on their terms. Again the stereotypes. And yet ... What I had felt among the women was our shared strength, each of us rein forcing the other — not so much through isolated echoes, as in the men's dance, more in harmony. We were less insistent on an individualistic integrity. The men seemed afraid of each other, afraid to let their bodies mingle, afraid to touch. An aggregate of dominant notes rather than a true chorus. (Some people have thought that the difference I sensed was because I was an observer of the men and a participant with the women. I don't think so. In later discussions, the men admitted how difficult it had been for them to come together as a group, how hard it had been to relate physically, to get close to each other.)</p> <p> Differences in communication patterns. In Marge Piercy's novel Small Changes, Wanda is showing the members of her theatre group the different ways men and women occupy space. She chooses for illustration how people sit in public places. "Men expanded into available space. They sprawled, or they sat with spread legs.... Women condensed.... Women sat protectively using elbows not to dominate space, not to mark territory, but to protect their soft tissues."<note>9. Marge Piercy, Small Changes (Garden City, N.Y.: Doubleday, 1973), p. 438.</note> And I wonder again about the ways women have been taught to hold their bodies.</p> <p> It's almost two years since I became aware of my body. And l'm still learning. Finding my center. Me. A woman.</p> <p> Research into sex-role differences in movement patterns is still limited. Nancy Henley's new book, Body Politics: Sex, Power and Nonverbal Communication, <note>10. Nancy Henley, Body Politics (New York: Prentice-Hall, 1977).</note> provides a much-needed compilation and review of the research on male-female differences, and what this means in terms of status. Just the title implies the importance of body language in regard to social "position." In another study, Martha Davis, a clinical psychologist, points out that a number of aspects of non-verbal communication have both sex-role and status significance—"frequently confirming the expectation of lower status associated with female, higher status with male."<note>11. Martha Davis, "Nonverbal Dimensions of Sex and Status Differences (presented at American Anthropological Association Meetings, Nov. 1976).</note> Davis concludes her paper with a description of the pictures of man and woman sent into outer space on the Pioneer 10 spaceship: "The man stands upright, wide, ready to go into action. The woman stands with her weight shifted to one side, one knee slightly bent and inward, her attitude more passive, a role difference apparently considered important enough to propel beyond our solar system."</p> <p> My thanks to Jacqueline Morrison who took all the photos at Anna's workshop.</p> </div> </body> <back> <p> Sue Heinemann is an artist, critic and sometimes dancer living in New York.</p> </back> </text> </TEI>
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Colin Turnbull, The Forest People (New York: Natural History\n\t\t\t\t\tLibrary, 1962), pp. 156-157." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131842931", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:18:42.931Z", "dcterms:modified": "2024-05-02T17:18:45.124Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131842931#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131842931#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[5]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "2. Edward T. Hall, Beyond Culture (Garden City,\n\t\t\t\t\tN.Y.: Doubleday, 1976), Chap. 5, passim." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131848425", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:18:48.425Z", "dcterms:modified": "2024-05-02T17:18:49.224Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131848425#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131848425#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[6]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "3. Patricia Draper,\n\t\t\t\t\t\"IKung Women,\" in Toward an Anthropology of Women, ed. Rayna Reiter (New York:\n\t\t\t\t\tMonthly Review Press, 1975), p. 94." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131854211", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:18:54.211Z", "dcterms:modified": "2024-05-02T17:18:55.301Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131854211#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131854211#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[8]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "4. Turnbull, pp.\n\t\t\t\t\t59-60." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131901363", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:01.363Z", "dcterms:modified": "2024-05-02T17:19:03.026Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131901363#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131901363#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "5. J.G. Kohl, Kitchi-Gami: Wandering Round Lake Superior (London,\n\t\t\t\t\t1860), p. 4." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131913036", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:13.036Z", "dcterms:modified": "2024-05-02T17:19:14.460Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131913036#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131913036#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[2]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "6. Alice\n\t\t\t\t\tMarriott, The Trade Guild of Southern Cheyenne Women,\" Bulletin of Okla- homa\n\t\t\t\t\tAnthropological Society (April 1956), p. 24." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131918482", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:18.482Z", "dcterms:modified": "2024-05-02T17:19:19.610Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131918482#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131918482#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/quote[3]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "7. Jomo Kenyatta, Facing Mount Kenya, Re- print of original 1938\n\t\t\t\t\tedition (New York: AMS Press, 1976), pp. 80-81." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131923106", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:23.106Z", "dcterms:modified": "2024-05-02T17:19:24.315Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131923106#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131923106#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": "8. Judith K. Brown, \"Iroquois Women: An Ethnographic\n\t\t\t\t\tNote, in Toward an Anthropology of Women, pp. 235-251" }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131928042", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:28.042Z", "dcterms:modified": "2024-05-02T17:19:28.939Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131928042#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131928042#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[24]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "9. Pierre\n\t\t\t\t\tBourdieu, \"The Berber House, or the World Reversed,\" excerpted in Rules and\n\t\t\t\t\tMeanings, ed. Mary Douglas (Baltimore: Penguin, 1973), p. 100." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </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://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131933296", "type": "oa:Annotation", "dcterms:created": "2024-05-02T17:19:33.296Z", "dcterms:modified": "2024-05-02T17:19:34.089Z", "dcterms:creator": { "@id": "https://github.com/djakacki", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Diane Jakacki" }, "oa:motivatedBy": "oa:describing", "oa:hasTarget": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131933296#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.5.0" }, "oa:hasSelector": { "@id": "https://raw.githubusercontent.com/djakacki/heresies/main/issue02/texts/weatherford.xml?note_annotation_20240502131933296#Selector", "@type": "oa:XPathSelector", "rdf:value": "TEI/text/body/div[2]/p[26]/note" } }, "oa:hasBody": { "@type": "cwrc:NoteScholarly", "dc:format": "text/plain", "rdf:value": "10. Two recently published books have begun the\n\t\t\t\t\tdocumentation of women in architecture: Doris Cole, From Tipi to Skyscraper: A\n\t\t\t\t\tHistory of Women in Architecture (Boston: press, 1973) and Susana Torre, ed.,\n\t\t\t\t\tWomen in American Architecture: A Historic and Contemporary Perspective (New\n\t\t\t\t\tYork: Wat- son-Guptill, 1977)." }, "as:generator": { "@id": "https://leaf-writer.stage.lincsproject.ca", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.5.0" } }]]> </rdf:Description> </rdf:RDF></xenoData> </teiHeader> <text> <body> <div type="essay"> <pb n="35" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_035.jpg"/> <head>Women's Traditional Architecture</head> <byline>Elizabeth Weatherford</byline> <div> <p> Human culture has been viewed by history as the product of "mankind's" efforts. Most of the events and achievements chosen for posterity as significant have been dominated and determined by males. However, there are histories other than those of modern post-industrial nation/ states. In traditional societies, located in what is often called the Third World, women have played a crucial role in the formation of cultural features vital to human existence. One such area, not usually credited to women, is architecture. In traditional cultures, women are often the builders and owners of structures, providing shelter and creating the conditions for social interaction.</p> <p>Although I will use the "ethnographic present" in most of this article, many of the traditional non-state societies in North America and Africa on which I focus here no longer exist, or no longer exist in their original forms. Their structures differ vastly from those of modern states. Some of these societies are small bands of gatherers and hunters, some are semi-nomadic peoples who seasonally follow herds, and others pursue a form of farming called horticulture, where the local économy is self-sufficient and women are frequently the farmers.</p> <p>Initially victimized by colonization, virtually all those societies that remain are now undergoing "modernization.“ If we lose the histories of these cultures, we will also lose an important part of the history of women's roles in world culture, for in societies whose traditions remain intact, the roles women play are central to their cultures—not on the sidelines, where our culture seems to wish us to be. In light of this, contemporary feminists' identification and re-creation of "women's culture" can be seen not just as a protest against oppression, but as a recognition of the arbitrary denigration of the history of women's activities. The discovery that architecture is a traditional woman's art opens up the possibility for a new understanding of our role in the formation of human culture.</p> </div> <div> <head>Grass Houses</head> <p>Societies of gatherers and hunters lived in small bands, constantly moving within a relatively large territory from which they foraged for plants and animals. These groups, which include the (Kung of the Kalahari Desert in Namibia and the BaMbuti (Pygmies) of central Africa's Ituri Forest, bands in the Sahara Desert, Algonkian and Athabascan groups in North America, are intriguing in their social harmony and their knowledgeable, non-exploitative interaction with their environments. Women and men regard each other as equals. Among the BaMbuti, hunting is a joint effort, men care for babies and women enter public discussions.<ref n="1">1</ref></p> <p>In gathering societies women may provide up to eighty percent of the food and as an extension of their expertise in plants and fibers (with which they make nets), they are also the builders. The dwelling the women construct usually consists of a framework woven like an inverted loose basket, covered or thatched with available materials such as large leaves, bundles of grass or woven mats. These shelters share significant characteristics across cultures. They are flexible, often flooded with translucent light, and scented with the smoke of fires and fragrant floor coverings. They are round, ovoid or conical, with no edges or planes to interrupt the flow of space. Their size and shape maximizes physical and psychological contact among the dwellers. Anthropologists suggest that such human proximity is particularly conducive to intuitive and nonverbal communication, to the development of internalized cultural rhythms.<ref n="2">2</ref> In our Western cultures, such tacit synchrony is usually found only in mother-infant relationships, a vestige of what was once the nature of communication between both sexes and all ages.</p> <p>A freudian theorist might suggest that the organic nature of gatherers' dwellings is a cultural extension of the biophysical environment of the womb. But in fact, these shelters can be extremely open and unwomblike. They include unsheltered areas where the work of the household, such as plaiting mats and scraping skins, <pb n="36" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_036.jpg" /> takes place. The house life overflows into outdoor space, allowing the activities of its inhabitants to expand. Many gatherers dwellings are easily adaptable, and when not easily expanded (as in the hemispherical scherms of the !Kung) there is flexibility as to who inhabits them. Children do not have to sleep with their parents, and can either stay with their grandparents or make camp with other children of the same sex at either end of the settlement.<ref n="3">3</ref> Thus the gatherers' house is not a structure enforcing family isolation, but serves as a shelter of great social fluidity.</p> <p> In these mobile cultures land is not individually owned and no dwelling is permanent. Women possess the building know-how rather than the actual structures, which they may erect collectively. The building activity may be almost ritualized, as the "performer“ sets into motion a body of traditional knowledge shared with other women:</p> <p>Now she squatted down making her own home, driving the saplings into the ground with sharp thrusts, each time in exactly the same place, so that they went deeper and deeper. When she had completed a circle she stood up and deftly bent the fito over her head, twisting them together and twining smaller saplings across forming a lattice framework. Then she took the leaves we had collected and slit the stalks toward the end, like clothespins, hooking two or three of them together. When she had enough she started hanging them on the framework like tiles, overlapping each other and forming a waterproof covering. There were leaves left over when she had finished, so she let other women take them for their houses.<ref n="4">4</ref></p> <p>The dwelling in the gathering culture is the focal point of women's creative activities. Since it is usually constructed from materials that can be replaced from available natural sources, it also binds society to its natural environment.</p> </div> <div> <head>Desert Dwellings, Wigwams and Tipis</head> <p>Semi-nomadic peoples live some part of the year in relatively permanent camps when an adequate food supply is available — wild plants, such as the wild rice of the Great Lakes region, or those provided by temporary cultivation. Some semi-nomadic peoples follow herds of wild or domestic animals part of the year and spend the rest gathering and hunting, or trading. These societies are not sedentary because they or their animals must range for some proportion of their food and the basics for making material goods. Generally they inhabit arid desert lands or plains choked with grasses, where farming is difficult.</p> <p>The architecture of such semi-nomads grew out of forms developed within gathering societies. Certain structural features of the grass house remained essential. For semi-nomadic desert dwellers, such as the Pima and Papago of the American Southwest, the convenient raw materials for building might still be plant fibers, particularly where the women were highly skilled basketweavers and had developed ways of weaving fibers into other forms, such as cotton cloth or yucca-fiber sandals. Up until the twentieth century the Pima were dispersed in the winter and settlements were occupied only for a few months during a short growing season. The women built structures that mingled the style of mobile peoples with that of the ancient Southwest Pueblos. Their houses were grass but the interiors were slightly below ground. Sometimes earth was used to anchor the lower portion of the exterior wall, a feature which perhaps explains the evolution of the earth lodges built by the Navaho and by the Mandan further north.</p> <p>Another feature of grass houses is the tensile flexibility of the structure, which was later developed into the tent form. In the desert or plains it might be adjusted or even formed in relationship to wind patterns; the walls might be opened, or closed tightly, to adapt to the wide range of temperatures characteristic of these environments. The tent consists of a framework over which a tight covering is stretched; it may be low and rounded or tall and conical, but either shape, with its flexible covering, is perfectly adaptable. Tents also differ from grass houses in that the coverings, and sometimes the frames, are carried with the band as it moves. All the components of such tents, including those of the Tuareg, Algonkian wigwams and Plains tribes' tipis, are made by women — exterior and interior walls, floor coverings and frames. There is a traditional basic form, but the tent is by no means standardized. In each society wom-<pb n="37" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_037.jpg" />en have created subtle variations on the frame or the arrangement of tent flaps for ventilation. In the arid Atlas Mountains of North Africa, Tuareg women weave and embroider wool coverings for their tents. The frame has a number of possible shapes, demonstrating the interplay between individual choice and cultural tradition.</p> <p> Algonkian-speaking groups, originally inhabiting much of the Eastern United States, were pushed west to the Great Lakes region after the white invasion. They hunted, gathered, fished, collected maple sugar, gathered wild rice, and had gardens. Some, like the Kickapoo, constructed wigwams of frames covered by mats. Others, including the Ojibwa, constructed conical tents covered with thin sheets of birch bark sewed together with small roots until long enough to cover the sides. Ojibwa women cut the poles for the frames and made colorful mats from reeds to cover the walls, and to serve as carpets, beds and sofas. Softening, bleaching and dyeing these reeds was a complicated process. The completed mats were carried from site to site. Early white observers were greatly impressed with the women's strength, as shown by this comment from 1855:</p> <quote>It may be easily supposed that these squaws, owing to their performing all the work of joiners, carpenters and masons have blistered hands. In fact, their hands are much harder to the touch than those of the men; and indeed their entire muscular system is far more developed and they are proportionately stronger in the arm.<ref n="5">5</ref></quote> <p>Similarly, the tipi-builders of the Great Plains were responsible for all aspects of the construction of their dwellings. They developed one of the most striking forms in women's vernacular architecture. The Plains societies were mobile; they moved from winter hunting camps to large summer ceremonial villages and the women carried not only the skin coverings and interior liners, but the poles with which the tipi was erected as well. These were hard to find on the Plains, and made a useful sled (travois) for carrying household property and people over long distances.</p> <p>When more permanent materials were used for making dwellings, women often cooperated in their manufacture. In making an ordinary tipi, the owner scraped and tanned the hides from which the cover would be made, frequently using treasured tools which she had inherited from the women of her family. Then a female specialist was called in to cut and fit the skins, and neighbors gathered to but the traditional sacred designs and high standards of work are still rigorously adhered to.</p> <p>The Quillers' Society met when a woman of the community had vowed to undertake a project. An older woman held the society's medicine bundle, filled with objects of spiritual power, and with the vower, performed the rituals necessary for the work to begin and end. She would instruct the younger woman in needlework and the society's ceremonies; then the entire group started work together. Afterwards the woman who had vowed the task continued alone, although she could consult with society members whenever a problem arose.</p> <p>Men and children were not allowed to touch or see the work until it was completed, when members of the society displayed the piece to the public. Following a feast, the women whose work was on view became a member of the society, one of the most respected institutions of her world. Among the Cheyenne a woman's achievements in decorative craft were valued as highly as a man's deeds in war. Moreover, the Quillers' Society:</p> <quote>...was spoken of as being similar in help stitch them together with sinew. Making a tipi could also fulfill a sacred function. Plains women formed special associations, notably the Cheyenne Quillers' Society, for the ceremonial decoration of tipis and their interior walls with dyed porcupine or bird quills. More recently these tipis have been made from canvas and decorated with glass beads, conception and attitudes to the Sacred Arrows [most sacred Cheyenne men's society), one very important difference in behavior may be noted. During the four-day arrow ceremony no talking, joking, or laughing was allowed in camp. The making of the sacred beading was attended by a good deal of joking, teasing, and fun. While the cere- <pb n="38" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_038.jpg" /> monial character of the work was recognized, it interfered in no way with the social pleasure of the occasion.<ref n="6">6</ref></quote> </div> <div> <head>Female Farmers</head> <p>When societies obtain their food predominantly from horticulture, it is practical for the people to settle in more permanent villages close to their fields. Jobs are traditionally assigned to one sex or an other. Sometimes men and women cultivate different crops and even speak differ- ent languages.</p> <p>Even space within the village might alsco be divided along sex lines, and the architecture reflects and affects sex-specialized tasks. Women generally dominate culti- vation but building tasks are specified and divided according to sex. In much of Africa the characteristic building form is round, with a gabled and thatched roof and walls made of wattle and daub. Each component is made separately by men or women. Male and female tasks vary from society to society. Among the Kikuyu of Kenya, men construct the walls and women the roof. After the men finish their work, they go to the feast celebrating the house building. They goad the women, calling them "slow chameleons“ who will miss the feast if they don't hurry. The women, who are working on the thatching, typically respond in chorus:</p> <quote>You men, you lack the most important art in building, namely thatching. A wall and an empty roof cannot protect you from heavy rain nor from the burning sun. It is our careful thatching that makes the hut worth living. We are not chameleons but nyoni ya nyagathanga small songbirds known for their beautiful nests).<ref n="7">7</ref></quote> <p>Separation of the sexes does not necessarily serve as a foundation for male domination. Cultural practices that encourage one sex to feel communal solidarity and to express itself in opposition to the other seem to yield much autonomy to both men and women as groups, indicated by the development of separate economic, social or ritual spheres outside of the activities that demand the involvement of both sexes. The position of women is particularly strong in matrilineal societies, where they are leaders of clans and owners of the fields, of harvest, food storage and dwellings. The longhouse of the Iroquois-speaking tribes of North America, built until the mid-nineteenth century, was controlled by women, and was a remarkable example of communal living. The longhouse served as the center of Iroquois social life. Ritual performances took place there and it was both dwelling and workplace for the many families of the clan to whom it belonged. By controlling the longhouse and the food stores, women played a vital part in the political affairs of the tribes.<ref n="8">8</ref> Through manipulation of supplies they could encourage or prevent war parties. The senior women, who controlled the longhouse, also played an important role in social policy decisions. They appointed spokesmen for the clan in village and tribal councils, and they could also "remove the horns," that is, remove those spokesmen from office if they did not do their job according to the women's interests. The longhouse stood as a symbol of the society at large; the confederation of the Iroquois tribes recognized the significance of this woman-owned institution by naming themselves The League of the Longhouse.</p> <p>There are few matrilineal cultivating societies remaining in the world. One of their striking characteristics was that they were subsistence societies — that is, no wealth was accumulated from year to year. Although the source of food and the type of settlement differed, they shared this feature with the gathering peoples mentioned earlier. The change from subsistence society to one in which it is possible to accumulate wealth frequently comes with the addition of livestock or herd animals to horticultural life. Such a change in process was observed in the early nineteenth century among the Mandan, a cultivating society living on the North American Plains. Basically, the Mandan lived two life styles. The matrilineal one dominated the life of the vilage, where women were the farmers and owned and built the houses; the second was patrilineal, occurring during the sum- mer months, when some of the women tended the fields, while most of the men and a few women went into the Plains to hunt buffalo. This resulted in an important division of economic tasks and calendars —the women living by an older agricultural calendar, and the men by the seasonal migration of the buffalo herds.</p> <p>In the Mandan village, the lodges the women constructed were admirably suited to the climate of the Great Plains. They may have originated as structures like those of the Pima. Walls of willow saplings and brush and a final layer of earth were erected over a wooden frame. The walls were built quite thick and the lodges were cool in summer and warm in winter. Quite possibly these were the prototypes for the sod houses built by pioneers settling in the Plains in the nineteenth century. </p> <pb n="39" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_039.jpg"/> <p> If the Mandan had survived the epidemic of smallpox which destroyed the tribe in 1840, it is possible that they would have become patrilineal, giving up cultivation altogether to pursue the buffalo as other Plains tribes did. In patrilineal societies, as we have seen with the Cheyenne, the woman's position is secure when she continues to control important cultural or economic features. Frequently these two spheres are connected, as in societies where women have a specialized architecture for their own activities. The Igbo society in Nigeria is patrilineal, but with the exception of the yam, all produce is considered women's property; they sell anything left over from feeding their families, becoming successful traders. A century ago when this marketing activity was increasing, the women also began to construct ritual sanctuaries in groves outside the villages. Called mbayo houses, these were maintained by a cult of the earth goddess Ala, and were decorated with male and female symbols and erotic figures.</p> <p>In patrilineal societies women may have certain economic powers; if so, they usually own their own houses within the compounds of their husbands' families. But when men control agriculture and herding, or have access to a modern cash market, the domicile and all public buildings fall totally under male control. Men erect the structures; if they are dwellings, women may decorate the walls. In Mediterranean villages in Spain, Greece and the Balkans, and in Islamic villages of the Near East and Africa, woman is associated with the domicile as its caretaker, not as its owner. The isolation of women in the home is, of course, a function of wealth. In poorer cultures the woman may be forced to work for the family's survival, but in most places, she is supposed to remain in the home. In Spain, she decorates her house with whitewash as a symbol of purity —both of the domicile and of its keeper. When a woman's life is relegated to the private sphere of society, her significance in the culture appears merely symbolic. She is a possession to be protected. In Berber villages, she weaves inside her husband's house; the loom is not considered her tool, but a symbol of male protection. Sitting behind it, she is shielded from the door and from the street life that lies beyond it.<ref n="9">9</ref> Thus women are isolated from the world of confrontation, conversation and public interaction.</p> <p>With the advent of industrialism and the wage economy in any society, separation of home life from public work becomes firmly entrenched. The many roles of women are reduced to motherhood and housekeeping. The number of craftswomen, artists, businesswomen and builders decrease. Separation of home from business premises makes it more difficult for women to share in a work world dominated by men. Machine-made products limit the type of paid work that can be done in the household. Control over the design and construction of buildings passes into the hands of "professionals. Women's creativity is confined to planning interiors and obtaining or making interior decorations according to mass-produced guides like women's magazines.</p> <p>Ironically, this vestige of woman's importance as architect and builder is used against her when psychology and popular belief insist that women are by nature' oriented to interiors, and interiors alone. The home, as the exclusive province of women, has become a significant cultural image on many levels — almost an archetypal reflection of the privatization of women's lives and the resulting obsession with house/home. So now we paint, write, sculpt our houses; so far, too few of us are creating architecture.<ref n="10">10</ref> In learning more about the options available to women in other cultures, we become more conscious of our own untapped potential.</p> </div> </div> </body> <back> <head>Notes:</head> <listBibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/252882">1. Colin Turnbull, The Forest People (New York: Natural History Library, 1962), pp. 156-157.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/1818029">2. Edward T. Hall, Beyond Culture (Garden City, N.Y.: Doubleday, 1976), Chap. 5, passim.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/995103118">3. Patricia Draper, "IKung Women," in Toward an Anthropology of Women, ed. Rayna Reiter (New York: Monthly Review Press, 1975), p. 94.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/252882">4. Turnbull, pp. 59-60.</bibl> <bibl resp="HathiTrust" ref="https://catalog.hathitrust.org/Record/000560270">5. J.G. Kohl, Kitchi-Gami: Wandering Round Lake Superior (London, 1860), p. 4.</bibl> <bibl>6. Alice Marriott, "The Trade Guild of Southern Cheyenne Women," Bulletin of Oklahoma Anthropological Society (April 1956), p. 24.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/18400546">7. Jomo Kenyatta, Facing Mount Kenya, Reprint of original 1938 edition (New York: AMS Press, 1976), pp. 80-81.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/1501926">8. Judith K. Brown, "Iroquois Women: An Ethnographic Note," in Toward an Anthropology of Women, pp. 235-251</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/852158789">9. Pierre Bourdieu, "The Berber House, or the World Reversed," excerpted in Rules and Meanings, ed. Mary Douglas (Baltimore: Penguin, 1973), p. 100.</bibl> <bibl resp="OCLC" ref="https://search.worldcat.org/title/803833">10. Two recently published books have begun the documentation of women in architecture: Doris Cole, From Tipi to Skyscraper: A History of Women in Architecture (Boston: press, 1973) and Susana Torre, ed., Women in American Architecture: A Historic and Contemporary Perspective (New York: Wat- son-Guptill, 1977).</bibl> </listBibl> <div><p>A native of Tennessee, Elizabeth Weatherford is an anthropologist on the faculty of the School of Visual Arts.</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#"/></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>
