Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter

By Jo Anna Isaak | Go to book overview

NOTES

INTRODUCTION
1
Danto asks this question, but he does not fall into the question’s trap. Danto’s essay surveys the work women artists have done over the past three decades, making it clear that women did not simply enter the mainstream, they redefined it.

1 THE REVOLUTIONARY POWER OF WOMEN’S LAUGHTER
1
Ironically, modern technology supports Freud’s speculations about Leonardo’s identification with his mother—X-rays of the Mona Lisa have revealed another portrait underneath, one that is thought to be Leonardo’s self-portrait. Most appropriately, this discovery was featured on an episode of the American television series Unsolved Mysteries.
2
See also Sarah Kofman, “Narcissistic Woman,” in The Enigma of Woman: Woman in Freud’s Writings (1985).
3
For an assessment of how successful Bakhtin was in his attempts to exonerate Rabelais from the charge of antifeminism, see Wayne C. Booth, “Freedom of Interpretation: Bakhtin and the Challenge of Feminist Criticism” (1986).
4
Bakhtin’s theory of the collective social body has been read by some Russian readers as a prescription for socialist collectivity. The non-individualized body is discussed again in Chapter 3 of this book with reference to the formation of the collective identity of the Soviet citizen under Stalinism.
5
Craig Owens in “The Discourse of Others: Feminism and Postmodernism” (1983) and Alice Jardine in Gynesis (1985) explore the modernism vs. postmodernism debate in terms of sexual difference. They argue that the feminist critique of patriarchy has fueled the postmodernist critique of representation, resulting in the loss of credibility in what Lyotard calls the grands récits of modernity—the master narratives of Western culture which, as Owens points out, are always narratives of mastery.
6
I owe this reference to Baudrillard to Tania Modleski’s essay “Femininity as Mas(s)querade: A Feminist Approach to Mass Culture” (1986). Although Modleski acknowledges that Baudrillard does not denigrate either the masses or femininity and goes on to extend the “contemporary psychoanalytic definitions of woman to a political analysis of the masses” (1986:49), she is dubious about the “possibilities of a revolution based on the mute tactics of the eternal ‘feminine’” (ibid.: 51).

-226-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • List of Illustrations ix
  • Acknowledgements xiii
  • Introduction 1
  • 1 - The Revolutionary Power of Women’s Laughter 11
  • 2 - Art History and Its (dis)contents 47
  • 3 - Reflections of Resistance: Women Artists on the Other Side of the Mir 77
  • 4 - Mothers of Invention 139
  • 5 - Mapping the Imaginary 156
  • 6 - Encore 182
  • Notes 226
  • Bibliography 229
  • Index 236
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 248

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.