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Throughout human history, motherhood and maternal experience have been largely defined and written by a patriarchal culture. Religion, art, medicine, psychoanalysis, and other bastions of male power have objectified the maternal and have disregarded female subjectivity. As a result, maternal ...

Throughout human history, motherhood and maternal experience have been largely defined and written by a patriarchal culture. Religion, art, medicine, psychoanalysis, and other bastions of male power have objectified the maternal and have disregarded female subjectivity. As a result, maternal perspectives have been ignored and the mother's voice silenced. In recent literary texts, however, more substantial attention has been given to motherhood and to the physical, psychological, social, and cultural dynamics affecting maternal experience. In Maternal Body and Voice in Toni Morrison, Bobbie Ann Mason, and Lee Smith, Paula Gallant Eckard examines how maternal experience is depicted in selected novels by three American writers, emphasizing how they focus on the body and the voice of the mother. These novels include: The Bluest Eye, Sula, and Beloved by Morrison; In Country, Spence + Lila, and Feather Crowns by Mason; and Oral History, Fair and Tender Ladies, and Saving Grace by Smith.

By employingthis focus, these writers lessen the objectification the maternal has received and restore a rich subjectivity that foregrounds the mother's perspective. Moreover, their fiction reflects a deep concern for history and culture and for a woman's experience of her world. They challenge the traditional representations of black and white motherhood that have appeared in southern literature and society, rendering complex portrayals of motherhood that defy cultural stereotypes.

Eckard incorporates historical perspectives on African American and southern motherhood, utilizing the works of Elizabeth Fox-Genovese, Sally McMillen, Deborah White, Jacqueline Jones, and others. She draws upon the feministcriticism of Adrienne Rich, Elaine Showalter, Naomi Schor, Tillie Olsen, Karla F. C. Holloway, Barbara Christian, and others, and the linguistic and psychoanalytic theories of Julia Kristeva, Helene Cixous, and Luce Irigaray.

Sexy, hedonistic, hilarious - Ann Summers parties are the ultimate girls' night in. Promising the perfect antidote to the toils of everyday life - sexual pleasure - they are the 'naughty but nice' version of the classic Tupperware® party.Ann Summers parties are incredibly popular, with around 4000 ...

Sexy, hedonistic, hilarious - Ann Summers parties are the ultimate girls' night in. Promising the perfect antidote to the toils of everyday life - sexual pleasure - they are the 'naughty but nice' version of the classic Tupperware® party.Ann Summers parties are incredibly popular, with around 4000 parties held in Britain every week. The basis is simple: to provide an all-female environment where women can buy sexy lingerie, erotic fashion, sex toys and other sex-related products. In many respects these parties enable women to transgress social taboos in the comfort of their own homes. But they are also a subtle means of constructing and enforcing heterosexual femininity.This book investigates what really goes on at these 'special' homosocial gatherings, where heterosexual women drink, laugh, shop, play party games and talk about sex. Storr develops a new analysis of the ways heterosexual women identify with and against each other - and of what this tells us about gender, sexuality and consumption in contemporary society. Drawing on both participant observation and in-depth interviews with party organizers, this fascinating and fun book is an indispensable guide to the politics of 'post-feminist' culture.

Focusing on the works of Shirley Ann Grau, Anne Tyler, and Gail Godwin as representative of changes taking place today, Kissel shows how white southern women are "moving on" in their fiction, with heroines not only continuing to renounce southern patriarchal tradition but moving beyond to establish ...

Focusing on the works of Shirley Ann Grau, Anne Tyler, and Gail Godwin as representative of changes taking place today, Kissel shows how white southern women are "moving on" in their fiction, with heroines not only continuing to renounce southern patriarchal tradition but moving beyond to establish independent lives and caring communities in American society. They are beginning to close the gap that has existed between themselves and black southern women writers, whose protagonists have long shown that the strength and independence of female maturity must be synonymous with complete character development. A background synthesis freshly discussing the work of Chopin, McCullers, O'Connor, Mitchell, and Welty leads to extended treatment of the novels of Shirley Ann Grau, whose protagonists, "keepers of the house", remain their fathers' daughters; of Anne Tyler, whose characters are "fatherless" and "homeless at home"; and Gail Godwin, whose daughter-heroines learn the necessity of autonomy. Further development,is shown in a subsequent generation of writers, discussed as paralleling either Grau ("haunted by the past"), Tyler ("making adult choices") or Godwin ("creating new communities") and pointing to a continuing progression.