Marynia farnham biography of williams
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The Study of Man: Woman’s Place
When her article on “The Independent Woman” appeared in Politics, ETHEL GOLDWATER provoked heated discussion with her assertion that the end result of the women’s rights movement had been to pile on women the responsibility to make a career as well as a home, and with her recommendation that men assume their full share in the job of caring for children and the home. She is now at work on a book for Houghton Mifflin on this and other aspects of modern women’s problems.
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The victory of 19th-century feminism—it won for women such goods as higher education, birth control, legal rights, and self-support—has not, it appears, solved the “woman problem.” Rather, her difficulties seem to have shifted from the political and social realm to the more restricted area of the emotions and what is called “successful personal adjustment.” Today the woman problem is most often
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Last Thursday night Charles and I watched part of the “Trail-Blazing Women” series on Turner Classic Movies and saw a fascinating 1980 documentary by Connie Field called The Life and Times of Rosie the Riveter. “Rosie the Riveter” became a slang term during World War II for all the women who were taking jobs in U.S. defense plants to replace the men who had volunteered or been drafted actually to fight the war. The film was a marvelous look at five such women, two white and three Black; the white ones were Lola Weixel from Brooklyn, New York and Gladys Belcher from Richmond, California, and the Black ones were Margaret Wright (heavy-set and with close-cropped hair, she had clearly weathered the years best of the five) from Los Angeles, Lyn Childs from San Francisco and Wanita Allen from Detroit. All came from proletarian backgrounds and leaped at the chan
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Mary Wollstonecraft, Feminist Killjoy
Few would disagree that, bygd most standards, Mary Wollstonecraft is key to Western feminism’s scen of ursprung, with all the weighty burdens and responsibilities—and only some of the romance—that goes along with being the ursprung of anything. Some might also suggest that Wollstonecraft is the original “feminist killjoy,” a term recently popularized bygd feminist scholar and activist Sara Ahmed. Ahmed’s ongoing blog, feministkilljoys, is subtitled “killing joy as a world making project.” Her wry and ironic appropriation conjures the specter of Wollstonecraft, the world-making feminist who has long had the dubious privilege of being associated with an emotional lista that swings from one form of joy-killing affect to another (anger, resentment, jealousy, suicidal despair, murderous rage). inom would argue, furthermore, that Wollstonecraft’s specific claim to being a feminist killjoy can be traced to the mid-twentieth century, when two Ame