\"Beyond Feminist Aesthetics\" has a dual focus. First, Rita Felski gives a critical account of current American and European feminist literary theory, and second, she offers an analysis of contemporary fiction by women, drawing in particular on the genres of the autobiographical confession and the novel of self-discovery, in order to show that this literature raises questions for feminism that cannot be answered in terms of a purely gender based analysis.Felski argues that the idea of a feminist aesthetic is a nonissue that feminists have needlessly pursued; she suggests, in contrast, that it is impossible to speak of \"masculine\" and \"feminine,\" \"subversive\" and \"reactionary\" literary forms in isolation from the social conditions of their production and reception. The political value of such works of literature from the standpoint of feminism can be determined only by an investigation of their social functions and effects in relation to the interests of women in a particular historical context. This leads her to argue for an interdisciplinary approach to the analysis of literature which can integrate literary and social theory, and to develop such an approach by drawing upon the model of a feminist counter-public sphere.Rita Felski has produced a closely reasoned, stimulating book that creates a new framework for discussing the relationship between literature and feminist politics. It will interest students and teachers of women's studies, comparative literature, cultural studies, and fiction.

Beyond Feminist Aesthetics: Feminist Literature and Social Change

The Word Embedding Association Test shows that GloVe and word2vec word embeddings exhibit human-like implicit biases based on gender, race, and other social constructs (Caliskan et al., 2017). Meanwhile, research on learning reusable text representations has begun to explore sentence-level texts, with some sentence encoders seeing enthusiastic adoption. Accordingly, we extend the Word Embedding Association Test to measure bias in sentence encoders. We then test several sentence encoders, including state-of-the-art methods such as ELMo and BERT, for the social biases studied in prior work and two important biases that are difficult or impossible to test at the word level. We observe mixed results including suspicious patterns of sensitivity that suggest the test’s assumptions may not hold in general. We conclude by proposing directions for future work on measuring bias in sentence encoders.

On Measuring Social Biases in Sentence Encoders

The Word Embedding Association Test shows that GloVe and word2vec word embeddings exhibit human-like implicit biases based on gender, race, and other social constructs (Caliskan et al., 2017). Meanwhile, research on learning reusable text representations has begun to explore sentence-level texts, with some sentence encoders seeing enthusiastic adoption. Accordingly, we extend the Word Embedding Association Test to measure bias in sentence encoders. We then test several sentence encoders, including state-of-the-art methods such as ELMo and BERT, for the social biases studied in prior work and two important biases that are difficult or impossible to test at the word level. We observe mixed results including suspicious patterns of sensitivity that suggest the test's assumptions may not hold in general. We conclude by proposing directions for future work on measuring bias in sentence encoders.

\"The Pink Guitar\" is a landmark study of women's writing and poetics - and representations of women artists - in the 20th century. It probes the work of H.D., William Carlos Williams, and Marcel Duchamp, among others, and includes DuPlessis's pioneering essay \"For the Etruscans,\" described in American Literature as \"one of the finest pieces of criticism in the feminist literary tradition.\

The Pink Guitar: Writing as Feminist Practice

Dennis Ioffe geeft een overzicht van en biedt inzicht in het culturele verschijnsel ‘zjiznetvortsjestvo', letterlijk ‘leven-schepping' (‘Lebenskunst' in het Duits), dat typerend was voor het Russische modernisme (symbolisme en avant-garde). Door de verheldering van de theoretische en historische basis van de Lebenskunst in het Russische modernisme draagt Ioffe bij aan een beter begrip van de relevante artistieke producten van deze belangrijke periode in de Russische cultuur. Aangezien Lebenskunst de grenzen tussen lichaam en tekst doet vervagen, behoort het verschijnsel niet alleen tot het domein van de literatuurgeschiedenis en literatuurtheorie, maar kan het ook worden bestudeerd vanuit de filosofie, kunstgeschiedenis en culturele studies. Ioffe geeft een interpretatie van de structuur van het samengaan van leven en kunst, van het elkaar doordringen van de sociale en persoonlijke werkelijkheden in de bestudeerde ‘chronotoop' van het Russische modernisme. Zijn belangrijkste doel is het vaststellen van het mechanisme van het geleidelijk verdwijnen van de onderscheidende kenmerken van het priveleven van de modernist, en de geleidelijke verandering van zijn/haar persoonlijke leven in een algemeen sociaal-cultureel model. De bestudering van het verschijnsel Lebenskunst betreft in het bijzonder het onderzoek naar de structuur van excentriek gedrag en naar de somatische (gender)identiteiten van de personen die actief zijn in het culturele leven.

/pdf/the-poetics-of-personal-behaviour-the-interaction-of-life-4h3j1kspcn.pdf

The poetics of personal behaviour : the interaction of life and art in Russian modernism (1890-1920)

Introduction: The Gender Politics of Experiment

Intention and Text: Towards an Intentionality of Literary Form

This article responds to Lynne Segal's claims in “After Judith Butler: Identities, Who Needs Them?”, concerning the shifts within Butler's work and her turn to questions of ethics, politics and identity. After considering, briefly, some of the main (materialist) critiques of Butler's work in recent years, I address the five shifts identified by Segal, suggesting that there are significant continuities across Butler's oeuvre and that, despite the adoption of a more ethically inflected language, it is still the circulation of cultural meanings that preoccupies her. The final third of the article, therefore, investigates Butler's continuing investment in a language of intelligibility and unintelligibility which represents the process of subjectivation as a process of “making sense of” oneself, and her tacit endorsement of the idea that “there are advantages to remaining less than intelligible” as a subject.

https://link.springer.com/content/pdf/10.1057%2Fsub.2008.29.pdf

Unintelligible Subjects: Making sense of Gender, Sexuality and Subjectivity After Butler

On 20 February 1969, Panther Books (in association with Secker and Warburg) published B. S. Johnson’s new novel, The Unfortunates. This ‘book in a box’, as it would become known, featured twenty-seven individually bound and paginated chapters collected in a box, with only the first and last chapters identified as such; the intervening sections could thus be rearranged by the reader and read in any order they chose. Such formal experimentation was not unique—as several writers on Johnson, including Jonathan Coe, have acknowledged, the author was almost certainly aware of Marc Saporta’s entirely loose-leaved novel, Composition No. 1 (translated from French into English in 1963)—nevertheless, the format of The Unfortunates has afforded it no little notoriety, acclaim and commentary over the years.

The Unfortunates : Hypertext, Linearity and the Act of Reading

Cleaving to the Scene of Shame: Stigmatized Childhoods in The End of Alice and Two Girls, Fat and Thin

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