Joan B. Landes - Böcker

Series Blurb Oxford Readings in Feminism provide accessible, one-volume guides to the very best in contemporary feminist thinking, assessing its impact and importance in key areas of study. Collected together by scholars of outstanding reputation in their field, the articles chosen represent the most important work on feminist issues, and concise, lively introductions to each volume crystallize the main line of debate in the field. The categories of public and private have been at the centre of feminist theory for the past three decades. Focusing on the gendered relations of sexuality and the body, family life and democratic citizenship, feminists have redirected public debate on questions of privacy and publicity. They have challenged leading theories of the public sphere, adding immeasurably to the historical and cross-cultural understanding of public and private life, from the rise of liberal and democratic institutions in the eighteenth and nineteenth centuries to today's media-saturated public sphere. This volume presents the results of this multi-disciplinary feminist exploration. Contributors demonstrate the significance of the public/private distinction in feminist theory, its articulation in the modern and late modern public sphere, and its impact on identity politics within feminism in recent years. Feminism, the Public and the Private offers an essential perspective on feminist theory for students and teachers of women's and gender studies, cultural studies, history, political theory, geography and sociology.

Gorgeous Beasts takes a fresh look at the place of animals in history and art. Refusing the traditional subordination of animals to humans, the essays gathered here examine a rich variety of ways animals contribute to culture: as living things, as scientific specimens, as food, weapons, tropes, and occasions for thought and creativity. History and culture set the terms for this inquiry. As history changes, so do the ways animals participate in culture. Gorgeous Beasts offers a series of discontinuous but probing studies of the forms their participation takes. This collection presents the work of a wide range of scholars, critics, and thinkers from diverse disciplines: philosophy, literature, history, geography, economics, art history, cultural studies, and the visual arts. By approaching animals from such different perspectives, these essays broaden the scope of animal studies to include specialists and nonspecialists alike, inviting readers from all backgrounds to consider the place of animals in history and art. Combining provocative critical insights with arresting visual imagery, Gorgeous Beasts advances a challenging new appreciation of animals as co-inhabitants and co-creators of culture.Aside from the editors, the contributors are Dean Bavington, Ron Broglio, Mark Dion, Erica Fudge, Cecilia Novero, Harriet Ritvo, Nigel Rothfels, Sajay Samuel, and Pierre Serna.

Should become part of the increasingly varied repertoire available to everyone interested in the formation of the discourse of modern politics as well as specifically feminist issues. - Eighteenth-Century StudiesIn this provocative interdisciplinary essay, Joan B. Landes examines the impact on women of the emergence of a new, bourgeois organization of public life in the eighteenth century. She focuses on France, contrasting the role and representation of women under the Old Regime with their status during and after the Revolution. Basing her work on a wide reading of current historical scholarship, Landes draws on the work of Habermas and his followers, as well as on recent theories of representation, to re-create public-sphere theory from a feminist point of view.Within the extremely personal and patriarchal political culture of Old Regime France, elite women wielded surprising influence and power, both in the court and in salons. Urban women of the artisanal class often worked side by side with men and participated in many public functions. But the Revolution, Landes asserts, relegated women to the home, and created a rigidly gendered, essentially male, bourgeois public sphere. The formal adoption of "universal" rights actually silenced public women by emphasizing bourgeois conceptions of domestic virtue.In the first part of this book, Landes links the change in women's roles to a shift in systems of cultural representation. Under the absolute monarchy of the Old Regime, political culture was represented by the personalized iconic imagery of the father/king. This imagery gave way in bourgeois thought to a more symbolic system of representation based on speech, writing, and the law. Landes traces this change through the art and writing of the period. Using the works of Rousseau and Montesquieu as examples of the passage to the bourgeois theory of the public sphere, she shows how such concepts as universal reason, law, and nature were rooted in an ideologically sanctioned order of gender difference and separate public and private spheres.In the second part of the book, Landes discusses the discourses on women's rights and on women in society authored by Condorcet, Wollstonecraft, Gouges, Tristan, and Comte within the context of these new definitions of the public sphere. Focusing on the period after the execution of the king, she asks who got to be included as "the People" when men and women demanded that liberal and republican principles be carried to their logical conclusion. She examines women's roles in the revolutionary process and relates the birth of modern feminism to the silencing of the politically influential women of the Old Regime court and salon and to women's expulsion from public participation during and after the Revolution.

Popular images of women were everywhere in revolutionary France. Although women's political participation was curtailed, female allegories of liberty, justice, and the republic played a crucial role in the passage from old regime to modern society. In her lavishly illustrated and gracefully written book, Joan B. Landes explores this paradox within the workings of revolutionary visual culture and traces the interaction between pictorial and textual political arguments. Landes highlights the widespread circulation of images of the female body, notwithstanding the political leadership's suspicions of the dangers of feminine influence and the seductions of visual imagery. The use of caricatures and allegories contributed to the destruction of the masculinized images of hierarchic absolutism and to forging new roles for men and women in both the intimate and public arenas. Landes tells the fascinating story of how the depiction of the nation as a desirable female body worked to eroticize patriotism and to bind male subjects to the nation-state. Despite their political subordination, women too were invited to identify with the project of nationalism. Recent views of the French Revolution have emphasized linguistic concerns; in contrast, Landes stresses the role of visual cognition in fashioning ideas of nationalism and citizenship. Her book demonstrates as well that the image is often a site of contestation, as individual viewers may respond to it in unexpected, even subversive, ways.

Multi-disciplinary in approach and cross-European in scope, this richly illustrated book features new links between the political and the monstrous in the early modern period. Emphasizing the importance of the visual in the culture of the monstrous, the book presents a range of striking engravings, woodcuts, broadsides, and anatomical works. Some of the most respected scholars of early modern Europe explore monstrous bodies in descriptions of aberrant births and grotesque anatomies, appropriations of classical or biblical beasts and harlots, satire, myth, and science fiction.Canonical writings on monstrosity by Aristotle, Ambroise Paré, Rabelais, Montaigne, and Mary Shelley are juxtaposed to less familiar treatments by Calvin, Luther, and Andrew Marvell, among others. This volume challenges established narratives in which modern science and medicine, sustained by enlightened reason and secularization, progressively contain and even "normalize" all monsters. Instead, these essays stress the continual reinvention and polemical applications of the monstrous in the early modern period. Monsters emerge as a rich subject for not only the history of science, but also political and religious history, literary studies, visual studies, and the history of popular culture.

Popular images of women were everywhere in revolutionary France. Although women's political participation was curtailed, female allegories of liberty, justice, and the republic played a crucial role in the passage from old regime to modern society. In her lavishly illustrated and gracefully written book, Joan B. Landes explores this paradox within the workings of revolutionary visual culture and traces the interaction between pictorial and textual political arguments. Landes highlights the widespread circulation of images of the female body, notwithstanding the political leadership's suspicions of the dangers of feminine influence and the seductions of visual imagery. The use of caricatures and allegories contributed to the destruction of the masculinized images of hierarchic absolutism and to forging new roles for men and women in both the intimate and public arenas. Landes tells the fascinating story of how the depiction of the nation as a desirable female body worked to eroticize patriotism and to bind male subjects to the nation-state. Despite their political subordination, women too were invited to identify with the project of nationalism. Recent views of the French Revolution have emphasized linguistic concerns; in contrast, Landes stresses the role of visual cognition in fashioning ideas of nationalism and citizenship. Her book demonstrates as well that the image is often a site of contestation, as individual viewers may respond to it in unexpected, even subversive, ways.

Multi-disciplinary in approach and cross-European in scope, this richly illustrated book features new links between the political and the monstrous in the early modern period. Emphasizing the importance of the visual in the culture of the monstrous, the book presents a range of striking engravings, woodcuts, broadsides, and anatomical works. Some of the most respected scholars of early modern Europe explore monstrous bodies in descriptions of aberrant births and grotesque anatomies, appropriations of classical or biblical beasts and harlots, satire, myth, and science fiction.Canonical writings on monstrosity by Aristotle, Ambroise Paré, Rabelais, Montaigne, and Mary Shelley are juxtaposed to less familiar treatments by Calvin, Luther, and Andrew Marvell, among others. This volume challenges established narratives in which modern science and medicine, sustained by enlightened reason and secularization, progressively contain and even "normalize" all monsters. Instead, these essays stress the continual reinvention and polemical applications of the monstrous in the early modern period. Monsters emerge as a rich subject for not only the history of science, but also political and religious history, literary studies, visual studies, and the history of popular culture.