Abstract
The issue of representation has been fundamental for the modern feminist movement. While equality, especially in relation to equal pay and equal opportunity, continued to be a fundamental objective of women activists, what marked the re-emergence of feminism as a political and social movement from the late 1960s was a new articulation of the contradictions of ‘femininity’, of motherhood and gender for women in the industrial West, together with a new analysis of the conditions — social as well as economic — producing these contradictions. The conditions which made possible this new articulation were the series of conjunctural changes in the decade 1960–1970. The ‘sexual revolution’ of the 1960s refers to the tumultuous personal experience of a generation for whom sex and sexual pleasure came out of the bedroom and the closet, off the back seat of cars and cinemas, and into the public sphere. Sexuality and its pleasures were asserted as an affirmation of identity and as a human right. But the ‘sexual revolution’ also refers to the gradual development of a broad acceptance in western societies of new norms of sexual activity involving non-marital sexuality both heterosexual and, with its decriminalisation, of homosexuality (in Britain, for those over 21 years of age).1
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes and References
Ferdinand de Saussure, Course in General Linguistics (1915), trans. Wade Baskin (New York: McGraw-Hill, 1966).
Jacques Derrick, Positions (1972), trans. Alan Bass (London: Athlone Press, 1981), p. 23.
Jacques Derrida, Of Grammatology (1967), trans. Gayatri Chakravorty Spivak (Baltimore: The Johns Hopkins University Press, 1974), p. 13, my emphasis.
This point is made by Mark Cousins in ‘The Logic of Deconstruction’, The Oxford Literary Review, vol. 3, no. 2, 1978, p. 74.
Roland Barthes, ‘Rhetoric of the Image’, in Image-Music-Text (1964), trans. Stephen Heath (London: Fontana, 1977).
Lévi-Strauss had attended Jakobson’s lectures in exile in New York in 1942/3 and his introduction to the publication of these lectures in 1976 acknowledges his debt, in Roman Jakobson, Six Lectures on Sound and Meaning, trans. John Mepham (Brighton: Harvester Press, 1978).
Claude Lévi-Strauss, Structural Anthropology (1958), trans. C. Jacobson and B. G. Schoepf (Harmondsworth: Penguin, 1972), p. 61.
‘Now, there is an intermediary between images and concepts, namely signs. For signs can always be defined in the way introduced by Saussure in the case of the particular category of linguistic signs, that is, as a link between images and concepts’: Lévi-Strauss, The Savage Mind (1962) (London: Weidenfeld & Nicolson, 1966), p. 18.
Lévi-Strauss, The Elementary Structures of Kinship (1949), trans. James Harle Bell and John Richard von Sturmer (Boston: Beacon Press, 1969), p. 482.
In the matrilineal and matrilocal Hopi Native American society the men were the hunters and conducted the religious ceremonies, while the women undertook agriculture, and though helped by the men it was the women who owned the land as well as the produce. See Robin Fox, Kinship and Marriage (Harmondsworth: Penguin Books, 1967), p. 89.
Jacques Lacan, Écrits, A Selection, trans. Alan Sheridan (London: Tavistock, 1977), p. 66. Ibid, p. 67. Ibid, p. 319.
Molly Haskell, ‘Howard Hawks: Masculine Feminine’, Film Comment, vol. 10, no. 2, 1974, p. 39.
Geoffrey Nowell-Smith, Visconti (London: Secker & Warburg, 1967), pp. 9–12.
Peter Wollen, Signs and Meaning in the Cinema, revised third edition (London: Secker & Warburg, 1972), p. 93.
Claire Johnston, ‘Women’s Cinema as Counter-Cinema’ (1973), in Sexual Strategems, ed. Patricia Erens (New York: Horizon Press, 1979), p. 27. My argument here, however, is that the differentiation of sexual difference never involves positive terms or full signifieds as essential meanings outside the system of signification.
Robin Wood, Howard Hawks (London: Seeker & Warburg, 1968, 1981), p. 182.
Jacques Rivette, ‘The Genius of Howard Hawks’ (1953), in Cahiers du Cinéma — the 1950’s ed. Jim Hillier (London: Routledge, 1985), p. 131.
Author information
Authors and Affiliations
Copyright information
© 1997 Elizabeth Cowie
About this chapter
Cite this chapter
Cowie, E. (1997). Feminist Arguments. In: Representing the Woman. Language, Discourse, Society. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-25269-5_2
Download citation
DOI: https://doi.org/10.1007/978-1-349-25269-5_2
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-0-333-66013-3
Online ISBN: 978-1-349-25269-5
eBook Packages: Palgrave Social & Cultural Studies CollectionSocial Sciences (R0)