Создавая кино, независимые кинематографисты феминистского толка выступают за то, чтобы интерпретировать мир на экране глазами женщин. Энн Каплан в своей книге приводит анализ четырех фильмов разных периодов истории кинематографа. Она говорит о женских образах в кино, созданных на основании мужских представлений. По мнению автора, мужчины-кинематографисты в своих фильмах рассматривали женщин исключительно в качестве сексуальных объектов. Каплан также описывает попытки представительниц слабого пола из мира кино сломать сложившиеся стереотипы. Энн предполагает, что образ Матери, который был незаслуженно обойден вниманием мужчин, является приемлемым для женщин, желающих, наконец, услышать мнение, не несущее на себе отпечатка пережитков патриархата.

The work of the Russian theorist Mikhail Bakhtin, particularly his notions of dialogics and genre, has had a substantial impact on contemporary critical practices. Until now, however, little attention has been paid to the possibilities and challenges Bakhtin presents to feminist theory, the task taken up in A Dialogue of Voices. The original essays in this book combine feminism and Bakhtin in unique ways and, by interpreting texts through these two lenses, arrive at new theoretical approaches. Together, these essays point to a new direction for feminist theory that originates in Bakhtin—one that would lead to a feminine etre rather than a feminine йcriture.

Focusing on feminist theorists such as Hйlene Cixous, Teresa de Lauretis, Julia Kristeva, and Monique Wittig in conjunction with Bakhtin's concepts of dialogism, heteroglossia, and chronotope, the authors offer close readings of texts from a wide range of multicultural genres, including nature writing, sermon composition, nineteenth-century British women's fiction, the contemporary romance novel, Irish and French lyric poetry, and Latin American film. The result is a unique dialogue in which authors of both sexes, from several countries and different eras, speak against, for, and with one another in ways that reveal their works anew as well as the critical matrices surrounding them.

 

In both feminist theory and Shakespearean criticism, questions of sexuality have consistently been conflated with questions of gender. This book, refusing to adopt this approach, instead details the intersections and contradictions between sexuality and gender in the early modern period. It argues that desire and anxiety constitute the erotic in Shakespearean drama - circulating throughout the dramatic texts, traversing "masculine" and "feminine" sites, eliciting and expressing heterosexual and homoerotic fantasies, embodiments and fears. Taking heterosexuality and homoeroticism equally seriously, the book presents a non-normalizing account of the unconscious and institutional prerogatives that comprise the erotics of Shakespearean drama. Employing feminist, psychoanalytic and new historical methods, using each to interrogate the other, the book implements a synthesis of the psychic and the social, the individual and the institutional. This book should be of interest to undergraduates and academics in the field of Shakespearean studies, Renaissance literature and cultural, gender  studies.

A highly original work in history and theory, this survey considers major themes including identity, class and sexual difference, weaves them into debates on the nature and point of history, and arrives at new ways of doing history that  very unusually  consider non-Western history and feminist approaches. Using wide range of historical and cultural contexts, the study draws extensively on feminist scholarship, both feminist history and postcolonial feminism.