Narrating Childhood in Elena Chizhova’s Vremya zhenshchin

ABSTRACT

This article discusses the representation of the Soviet past through the figure of a child in Elena Chizhova’s novel Vremja ?en??in [Vremya zhenshchin] (2009). The concept of the vulnerable subject is applied to conceptualize the narrative’s ‘access’ to the past. Vremja ?en??in [Vremya zhenshchin] tells the story of a mute girl raised by her mother and three ‘grandmothers’ in 1960s Leningrad. The women decide to keep her muteness as a secret in order to protect her from being sent to a state institution for disabled children, and to raise her at home. The child figure is situated on the verge of two value systems: the collective, secular, and modern value system, represented by the outside world of home; and the private, spiritual, and traditional value system represented by the community of three old women. The position of the vulnerable child figure on the margins of society enables the representation of a ‘lost’ past and its alternative values. The article suggests that the vulnerable child figure can be seen to stand for a feeling of loss and abandonment in more general terms in contemporary Russia, and as representing a search for a lost inheritance.     

Women's Sex Role Attitudes and Life Satisfaction

Abstract

Feminist writers of the 1960s and 1970s argued that women were suffering emotional and psychological stress by adhering to traditionally feminine sex roles, and encouraged women to seek their own careers and change their views of women's roles in society. The purpose here is to test that argument by analyzing samples of women interviewed in national surveys between 1972 and 1978. The author concludes that the feminist writers were overstating the problems of the housewife, and that although many women have gone into new career fields, many other women with traditional sex-role attitudes are happy with their lives.     

Imagining a Life

ABSTRACT

Born in Ohio in 1876 to wealthy parents, Natalie Clifford Barney is today better known for the freedom of her lesbian life-style than for her writing. Nevertheless, she was a serious writer, and consciously engaged in writing from a specifically lesbian point of view. With her lover Renée Vivien, she attempted to revive the cult of Sappho, and thus to revitalize a lost lesbian literary tradition. Through her weekly salon, Barney encouraged women writers, serving as a mentor and muse, and often as a lover. She enjoyed enduring friendships with many well-known women and men of letters, such as Gertrude Stein, Remy de Gourmont, Colette, and Dolly Wilde. Fictional characters based on Barney appear in novels by Lucie Delarue-Mardrus, Liane de Pougy, Djuna Barnes, and Radclyffe Hall. Barney's own writing consists of one novel (The One Who Is Legion, an eccentric meditation on gender and personality); a few collections of plays, poetry, and “portraits” of women; several volumes of memoirs; and two major volumes of “pensées,” or aphorisms, in which she comments on society, politics, and sexuality using a variety of urbane personae. Natalie Barney's work deserves more recognition than it has received, and her life still can serve as a model of self-creation uninhibitied by social strictures.     

Storytelling in Amy Tan’s The Bonesetter’s Daughter: belonging and the transnationality of home in older age

ABSTRACT

Amy Tan’s The Bonesetter’s Daughter is a fictional account of a Chinese American woman and her mother, a first-generation migrant, who is negotiating dementia in later life. Analysis of diasporic novels can provide insight into migrant belonging, especially the emotional geographies of home and emotional subjectivities of ageing that are not commonly or easily elucidated even by qualitative interviewing methods. This article examines Tan’s construction of ageing as an intergenerational, cultural and emotional process, and highlights the role of storytelling as an everyday home-making practice through which the transnationality of home in older age becomes evident.     

Love and Alcohol: Performance in the Fiction and Life of Writer-Singer Nataliia Medvedeva

Abstract

The multifaceted Russian author, singer, and actress Nataliia Medvedeva’s (1958–2003) creative output was synonymous with performance. Her image became iconic in worldwide popular culture as the carefree, smiling young woman on the cover of the New Wave rock group “The Cars”’s eponymous 1978 album. Then Medvedeva was twenty years old and had been living in the United States for about three years; she returned to Russia in 1994 after nineteen years abroad, mainly in the US and France, and died at the age of forty-four, possibly of a fatal mixture of alcohol and tranquilizers. By the time of her death, Medvedeva—author, poet, journalist, singer, musician, model, and designer—was, and remains, an enigmatic yet colourful figure of the Russian émigré and post-Soviet literary, music, and cultural scenes.

From an early age in Leningrad, she showed an aptitude for constructing performance and (re)presenting herself. This article suggests that Medvedeva used her early autobiographical writing as a method of thinking through her ideas and beliefs about the nature of performance, especially as it related to perceptions of the sexual, sexuality, and shocking-ness, as well as to the relationship between the audience and herself, indeed, between society and the self. To support my thesis, I focus, in particular, on her autobiographical novel Liubov’ s alkogolem [Drunk Love, 1987?, 1995, 2001], as well as foundational ideas from the field of performance studies.     

Lena Finkle’s magic arc: hybrid influences in the Russian American graphic novel

ABSTRACT

The article examines Anya Ulinich’s graphic narrative Lena Finkle’s Magic Barrel and the novel’s use of visual culture from both the author’s Russian and US American backgrounds. The article interrogates the use of history and timelines, Russian art history and Russian art education in Ulinich’s text. It also analyzes other literary constructs that influenced Ulinich’s novel: US American comics/graphic novels and their use of stereotype, and novels by Russian-speaking Jewish American writers, with their thematized Jewishness.     

Popular Literature,the City and the Memory of Vanished Others in Poland and Ukraine: The Cases of Marek Krajewski and Iurii Vynnychuk

Abstract

A comparative analysis is made of the evocation of urban memory in the work of the Polish author of detective fiction Marek Krajewski and the leading Ukrainian writer of postmodernist fiction and popular historical publications Iurii Vynnchyuk. The cities that form the focus of the work of these writers, Wroc^/law for Krajewski and L′viv for Vynnychuk, both experienced massive population shifts after World War II, meaning that the postwar populations had little or no memory of the pre-war cities. The legacy of this disjunction can be felt to this day. This study demonstrates how both writers re-create a sense of memory through a number of similar memory strategies and concludes that the recreation of memory in these writers’ work can be understood as what Marianne Hirsch calls postmemory, yet that this is postmemory removed from the traumatic context of Hirsch’s original concept. It is also argued that these writers demonstrate that an effective ‘cultural memory’ can be produced in a situation when ‘communicative memory’ is lacking, through an imaginative and accessible representation of the ostensibly inaccessible past. This is achieved through the utilization of mass cultural forms, which some theorists of urban memory see as conducive only to forgetting.     

Staying With The Client

Abstract

Since the early seventies there have been widespread assumptions in social work that: (a) effective therapy is necessarily brief-lasting, at most, eight to ten sessions, and (b) that we should only deal with the problems that the client wants help with.

The author challenges the universality of these assumptions, and their basis in research and considerations about supposed cost-effectiveness. He illustrates through a single case study of a depressed adolescent girl and her unhappy mother that although contact could have been terminated after ten sessions, when the identified patient was better, in fact it would probably have achieved very little, since intervention up to that point had had the effect of making the mother only too painfully aware of her life predicament and reducing her almost to despair.

At the mother's request, social work contact continued for a further eleven sessions, spread over five months. She appeared to use this to achieve a considerable degree of acceptance of her painful and deprived childhood, and adopt a very much more positive attitude to her future. Her depression lifted, and her anxiety diminished. Follow-up eighteen months later strongly suggested that the gains made had been maintained for both mother and daughter.     

The Judgments of David Bergelson

ABSTRACT

In this paper, I read the Yiddish author David Bergelson’s statements at his secret trial through the lens of his own earlier fiction about Soviet justice, especially his novel Judgment. I examine Bergelson’s self-fashioning as a Jewish writer and how he uses his own Jewish background as a justification for his failures as a Soviet person. I offer some contextualization of Bergelson’s statements in light of other trials of other writers both before and after 1952, and compare his declaration of love for Yiddish with other, similar expressions. Bergelson does not merely defend himself, he creates a memory about his legacy for the future.     

Love is Not All You Need: A Revolutionary Approach to Parental Abuse

This case story is a composite of similar family situations where the parents were at risk of harm from their teenage children and commonly the father/step‐father has moved out of home leaving the mother to parent the children on her own. Several of these cases involved physical threats to the lives of the parents. These referrals occurred in a Child, Adolescent and Family Mental Health Service and a Family Therapy NGO between 1985 and 2005. This approach is offered as a complement to the widely published ‘non‐violent resistance’ approach of Haim Omer and his colleagues. We hope it goes some way to address what Lavi‐Lavavi et al ( 2013 , Journal of Systemic Therapies, 32(4), 79–93). describe as ‘the mother's plight’:

The plight of the mother continues to present a major challenge… We are also seeking ways to allow the mother more breathing space, help her to disengage from abrasive conflicts, acknowledge her contribution and sacrifice, and provide her with vantage points that may help her recognize and enhance small improvements. Hopefully, these measures will enable women to evolve from unacknowledged victims to pillars of the family’ (p. 92).

     

In My Mother’s Tongue

ABSTRACT

By way of a vignette about my childhood mix of British and American accents, I explore how the Mother of the primal scene becomes a nodal point in the recursive iteration of psyche and society that is given voice in the child’s mother tongue.     

Rethinking resistance under authoritarianism: civil society and non-contentious forms of contestation in post-uprisings Egypt

ABSTRACT

In 2018 President Abdel Fattah al-Sisi secured a second presidential term in a constrained political environment exacerbated by his control over the media, prosecution of journalists and activists, and his crackdown on civil society. As a result of such resilient authoritarianism, the optimism that once defined the Egyptian uprisings has turned into cynicism. This article contributes to the literature surrounding civil society and resistance in authoritarian contexts by offering an examination of the interplay between authoritarian tendencies and their resistance in post-uprisings Egypt. I argue that we should view al-Sisi’s regime as representing an authoritarian system that is not absolute, despite its soft and hard repressive methods, but one that still offers limited space for civil society organizations (CSOs) to function. This limited space importantly comprises covert resistance methods which can offer Egyptian CSOs opportunities to resist the state’s legal and extra-legal restrictions. The resistance methods considered in this article need to be understood in Gramscian terms as they encompass the limited means available by which CSOs can negotiate the terrain of hegemonic contestation under the existing authoritarian context. Given al-Sisi’s re-election and the sustained crackdown on Egyptian civil society, the need to analyse such forms of resistance is pertinent.     

Crying for Food: The Mexican Myths of ‘La Llorona’ and ‘The Hungry Woman’ in Cherríe L. Moraga

The Mexican legend of ‘La Llorona’ (‘The Weeping Woman’), who drowned her children out of revenge for being abandoned by her lover, and the Aztec creation myth of ‘The Hungry Woman’ — crying constantly for food, with mouths all around her body — have inspired Chicana writers in the symbolic representation of their own yearning, be it sexual, identity-building, or anti-patriarchal. This essay seeks to lay the mythical groundwork within this topic, as well as to illustrate with some particular examples the different reappropriations of these myths in Cherríe L. Moraga, mainly in her play The Hungry Woman: A Mexican Medea (2001). With a view to opening up a past ‘that can provide a kind of road map to our future’ (: ix), these examples of transgressive women will be deprived of the feminine colonial passivity imbued by the dominant male discourse, and analysed as a complex, active, polyvalent mythological female corpus that integrates both life and death, womb and grave. This hybrid approach is inherent to the Aztec mythology on which Moraga relies in order to transcend Manichaeistic resolutions and probe the social, political, and gender reasons leading a hungry mother to commit infanticide.     

Decision-Making processes in the child protection system: A comparative study between students and professionals in Portugal

Abstract

This research aims to achieve a better understanding of factors that influence the assessments and decisions of professionals and students about the possibility to remove a child at risk from her birth family. The study also analyzes the influence of the attitudes of the child’s mother on that decision. It was used a questionnaire based on a case vignette of alleged child maltreatment. Compared with students, professionals were more pro-removal, more in favor of reunification and parents’ participation in the decisions, and had a higher assessment of emotional abuse, and emotional and physical neglect. Mother’s wish did not show to have any impact in the two samples regarding maltreatment, risk assessments, and intervention recommendations.     

Reverse interviewing: a white adoptive mother engaging with black birth mothers and vice versa

Abstract

Researcher reflexivity, meaning the revealing of the researcher’s assumptions and her position vis-à-vis those researched, has by now become commonplace. This article explores such issues in the context of a larger study of transnational adoption for which I conducted interviews with South African birth mothers as both a researcher/interviewer and an adoptive mother. Instead of seeking to eliminate researcher bias, I propose using it as data that could reveal novel aspects of the phenomenon under study. This article specifically explores the use of reverse interviewing, which in this case meant disclosing my double positionality and inviting the interviewees to ask me questions. It is not a matter of merely extracting information: the technique allows participants to air their concerns, and facilitates investigation of the researcher’s reactions to them. All this, in turn, carries implications with regard to how the study area is conceptualised.     

“A Woman's Nature is Like a Great House Full of Rooms”: Edith Wharton's Personal and Fictional Representation of Homes

ABSTRACT

All of her life, the turn-of-the-century American novelist Edith Wharton was extremely sensitive to her environment. This preoccupation resulted in a professional interest in houses and their interior decoration. She created homes for herself, both in America and in France, in which she ensured the conditions for the development of her authorship. She moreover published books in which she expressed her opinions on how a home should be constructed and decorated, which contributed to her reputation as a professional author, but also as an intellectual, a connoisseur, and a cosmopolitan. The average American bourgeois home, which she abhorred, formed a source of inspiration for her literary imagery in the depiction of characters who find themselves entrapped in patriarchal society.     

Margaret Atwood’s Straddling Environmentalism

Abstract

“Margaret Atwood’s Straddling Environmentalism” asks why Atwood crosses the Canada-US border in her dystopian fiction. It takes Atwood’s 2004 comments that The Handmaid’s Tale (1985) partly grew out of her ‘irritation when people say “it can’t happen here”’ and her claim that she decided to set the novel in Cambridge, Massachusetts as being related to that irritation—’”It can’t happen here,” she explained, “should be placed in the most extreme ‘here”’—as a prompt. Focusing on Oryx and Crake (2003), this article argues that one of Atwood’s motivations for crossing the Canada-US border in this novel is to provoke us to develop what Giovanna Di Chiro has termed ‘a scale-crossing environmental consciousness.’ Oryx and Crake challenges us to think about environmentalism in relation to local, embodied experiences as well as on a global, transnational scale.     

The Mother Stands for the Realm That Must Be Exited

ABSTRACT

Attempts to narrate the experience of the mother consistently and compulsively collapse into her function, always idealized and overinvested. These massive social projections onto the mother quickly become evidence of her multitude of failures, meanwhile leaving her experience forever emptied of any possible substantive point of interest.     

Speaking for herself: Andrea Dunbar and Bradford on film

In October 2010, the radio broadcaster Philip Dodd interviewed Clio Barnard about her new documentary, The Arbor (2010), based on the life of the late playwright Andrea Dunbar. As part of the film-making process, Barnard recorded audio interviews with Dunbar’s family then hired professional actors to lip-synch the responses in the film. Dodd had a major problem with this method: The Arbor is rooted in the lives of working-class Northern women, yet for Dodd, ‘they’re not good enough to be seen’. In a passionate defence, Barnard argued ‘I wanted people to speak for themselves’. This article examines Barnard’s film in conjunction with Rita, Sue and Bob Too!, for which Dunbar wrote the screenplay. A paradox is considered, where the ‘real’ and ‘authentic’ female voices of Dunbar, her family and neighbours are then mediated by cinematic form; this is placed within a wider argument about how issues around realism and representation in documentary and fiction film contribute to our understanding of the North in popular culture. The analysis then situates this thinking in terms of the representation of Northern writers and spaces, considering how the site-specific locations of writers affect the kind of cultural texts that they are able to produce.     

Romancing the nation: Family melodrama and the sentimental logics of bourgeois nationalism

Abstract

In the years since the 1970s, something of a revolution has occurred in the area of South Asian American fiction, as writers like Bharati Mukherjee, Meena Alexander, Ginu Kamani, Anita Rau Badami and Chitra Banerjee Divakaruni have begun publishing their work. Bharati Mukherjee's predominant focus is the politics of immigration, not only as a prevalent preoccupation in her fictional writing, but as the focus of a series of newspaper and journal articles as well. This article seeks to contextualize the development of Mukherjee's writing in relation to wider current debates about the nature of the American canon, the question of 'Americanness', and the continually vexed issue of multicultural politics in the US. In reading four of Mukherjee's novels both through and against her polemical writing, I will argue that Mukherjee's fictions should be read together as an ongoing counter-nativist project and, as such, constitute an important intervention in US race relations.