Over the past decade, the detective widow has become a well-established character in the little-explored subgenre of neo–Victorian crime fiction. In Tasha Alexander’s Lady Emily series, the author argues, the detective widow investigates the gendered characteristics and complexities of Victorian widowhood while detecting the artistic crimes associated with historical fiction’s imitations and adaptations of the past.
Joel Gwynne and Nadine Muller (eds.), Postfeminism and Hollywood Cinema (Palgrave Macmillan, 2013)
From Mary Wollstonecraft’s call for chastity as a universal rather than a female virtue in A vindication of the rights of woman (1792), through nineteenth and early-twentieth century writings on the commodification of women in marriage and prostitution and campaigns for rational dress, to fights for women’s reproductive rights and sexual liberation in the 1960s and 1970s, the female body and female sexuality as sites of oppression and empowerment have long occupied a central place of concern in feminist theory and practice. In the new millennium, as in previous decades, this interest continues to engender productively diverse and conflicting, as well as often conflicted, responses by feminist scholars across disciplines whose work reflects upon and attempts to conceptualise women’s sexual bodies within the cultural and political landscapes of the twenty-first century.
8-9 September 2011, University of Hull
2 October 2010, The Women’s Library, London
I have never made New Year’s resolutions, but yesterday I decided that there was one to which it was worth committing. As of today, I am keeping a diary of positive thoughts. Every day, I’ll handwrite one positive note. About myself, about something I’ve realised, or about something for which I’m grateful. It may be a very general thought, or it may be very specific and personal. It may be about something I’ve long felt is one of my strengths, or it could be a positive take on something with which I have struggled in the past and continue...