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In the early twentieth century, Americans often waxed lyrical about \"Mother Love,\" signaling a conception of motherhood as an all-encompassing identity, rooted in self-sacrifice and infused with social and political meaning. By the 1940s, the idealization of motherhood had waned, and the nation's mothers found themselves blamed for a host of societal and psychological ills. In Mom, Rebecca Jo Plant traces this important shift by exploring the evolution of maternalist politics, changing perceptions of the mother-child bond, and the rise of new approaches to childbirth pain and suffering. Plant argues that the assault on sentimental motherhood came from numerous quarters. Male critics who railed against female moral authority, psychological experts who hoped to expand their influence, and women who strove to be more than wives and mothers—all for their own distinct reasons—sought to discredit the longstanding maternal ideal. By showing how motherhood ultimately came to be redefined as a more private and partial component of female identity, Plant illuminates a major reorientation in American civic, social, and familial life that still reverberates today.

Because she was arguing, taking on-in passionate debate-several women there 1 actually knew. [...]she was. Because I was also fascinated, I stayed to the end of the meeting and kept coming back- and back-and back for more. [...]1 was also aware that-thanks to Betty Friedan, feminists everywhere, in the National Organization for women and in all the other feminist organizations, were braver and better because of her. [...]it was largely as a result of her exceptional leadership and unique vision that we, as pioneer feminists, had a place on the front lines of progress and a serious role in making change and making history.

In 1963, Betty Friedan unleashed a storm of controversy with her bestselling book, The Feminine Mystique . Hundreds of women wrote to her to say that the book had transformed, even saved, their lives. Nearly half a century later, many women still recall where they were when they first read it. In A Strange Stirring , historian Stephanie Coontz examines the dawn of the 1960s, when the sexual revolution had barely begun, newspapers advertised for \"perky, attractive gal typists,\" but married women were told to stay home, and husbands controlled almost every aspect of family life. Based on exhaustive research and interviews, and challenging both conservative and liberal myths about Friedan, A Strange Stirring brilliantly illuminates how a generation of women came to realize that their dissatisfaction with domestic life didn't't reflect their personal weakness but rather a social and political injustice.

The devoted housewife informed her husband that she would not be cooking dinner for the family on Tuesday and Thursday nights, as she was finally taking the art class she had always dreamed of. The term described a confrontation with mortality that occurred in one's mid-thirties, when \"family and occupation have become established ,,, and children are at the threshold of adulthood,\" Jaques's term did not catch on until the 1970s, when Gail Sheehy, a journalist for New York magazine, used it in Passages, her bestselling book, The term became part of the therapeutic patois of the upper middle class in the closing decades of the twentieth century. [...]enough, he finds it in the arms of a different woman, one who is \"more understanding, sharing, and sensually evocative.\" [...]a new anxiety arrives at midlife.

Este documento recoge el proceso creativo para la construcción del personaje Violet Newstead, como parte del proyecto de grado de la carrera de Arte Dramático con énfasis en Teatro Musical. A través de una bitácora visual y reflexiva, se detallan las etapas de investigación, exploración, análisis de la obra y hallazgos emocionales surgidos durante el montaje de grado “De 9 a 5”, adaptado del musical original “9 to 5”. El formato del presente trabajo es una recopilación híbrida de material emocional y sensible, así como de estrategias, métodos y curiosidades surgidas durante el proceso de creación escénica, para ello se optó por un diseño artístico que acompaña las decisiones actorales tomadas por la intérprete.

Ce texte analyse les liens entre la psychologie et les mouvements féministes dans les États-Unis de l'après-guerre. Pendant de la démonstration que « la psychologie construit la femme », il montre que la psychologie a également façonné le féminisme contemporain en examinant plusieurs des débats et réflexions féministes qui ont mis enjeu l'expertise psychologique. De The Feminine Mystique, de Betty Friedan, aux pratiques des groupes de prise de conscience, l'expérience est au cœur de ces conjonctions entre la psychologie et la politique féministe.

The aim of this paper is to analyse the question of a personal search for identity as well as the broader cultural concept of “feminine identity” in relation to domesticity and landscape in Deborah Levy’s Real Estate, published in 2021. The third and last instalment of Levy’s “A Living Autobiography” series is an account of a woman’s search for identity in the context of major life changes: no longer a wife, no longer a mother living with her children, and no longer young, the narrator (who is and is not the author, according to Levy herself) examines her own relationship with home, homeland, and houses in various geographical locations, including her dream house – her unreal estate. The spectral dream house, positioned at the intersection of the past, the present, and the future, together with land and a very specific type of fluid landscape, constitute an object of the narrator’s profound desire. By expanding on the topic of this longing, Levy engages in reflection on women’s wanting and its habitual subjugation to the needs of others. The paper demonstrates how in this way Levy enters into a dialogue with Sigmund Freud and his famous unanswered question “Was will das Weib?” Most importantly, it is shown how the narrator generally considers women’s – including female artists’ – place at home and in culture within patriarchy. Applying a feminist and gender studies perspective, as well as by combining hauntology with housing studies, this paper examines the key symbolism of Real Estate and ultimately reads the book as a feminist writer’s manifesto declaring “my books are my real estate,” while placing it against the background of older feminist tradition, represented by such writers as Virginia Woolf, Betty Friedan, and Annette Kolodny.

Liz Fee and I met when we were both graduate students in a program in the history of science at Princeton University. I entered in 1965 with a chemistry degree and no interest in activism or politics. Liz arrived three years later with worldliness and toplevel academic training in England. Importantly, she also had a very un-American awareness of social class as a factor in life and history. Although the program itself was entirely apolitical, we were all coming ofage in a world shaped by the 1960s youth culture of sex, drugs, and rock and roll, the university rebellions of 1968, second-wave feminism (including books by Simone de Beauvoir and Betty Friedan), the early effects of Rachel Carson's eye-opening Silent Spring, the young New Left and the other activism opposing America's role in the Vietnam war, and the Stonewall Rebellion at a gay bar in New York City in June 1969.Liz's long career fostering social change was founded on the small-scale settings of her early experiences organizing-not with phone banks or mass mailings but by engaging people faceto-face in consciousness-raising groups and other democraticstyle meetings in which all participants were urged to speak up without control from a presiding officer. At her best when asking people to take on specific tasks to help the group, she was rarely refused since she was not hesitant to take on work for herself.Liz's experience in small-group settings of the late 1960s and 1970s- both women's groups and gaylesbian groups (numerically dominated by gay men at that time)- furnished skills, methods, and ambitions that sustained her entire career. Her early experiences cannot be encompassed by organizational positions, reports, and publications: her accomplishments must also be measured by myriad face-to-face meetings, friends, acquaintances, and personal networks.Liz earned her PhD with a dissertation entitled Science and the \"Woman Question\" I8601920: A Study of English Scientific Periodicals. This subject was inherently political, with substantial resonance to contemporary struggles. As a model ofhow to bring a political consciousness to scholarly work, Liz's dissertation inspired those of us still worried about keeping these spheres distinct.

For women forced to be the object of male desire, the beauty industry offers, in exchange for money, all kinds of devices that will make them more palatable: clothing, cosmetics, hairdressing, gymnastic equipment, and so on. [...]two birds are killed with one stone: social control and economic gain. Leonor Calvera (in Rodríguez and Ciriza) highlights that Bemberg and Gabriela Christeller, an Italian countess based in Argentina, \"trafficked and translated—although in a less systematic and traditional way—the texts that in those years were produced by northern feminists\"4 such as Margaret Mead, Betty Friedan, Kate Millet, and Shulamith Firestone.5 Bemberg was a pioneer in defining herself as a feminist in the Argentine public sphere. The problem of the waves, the geopolitics of knowledge, and other academic distortions In order to analyze the complex positionality of the above-mentioned filmmakers and to introduce these films to a potentially broader audience, we were tempted to state that Woman's World is a classic example of second wave feminism, and Miss Universe in Peru is a move towards what will be considered the third wave, in terms of diversification of the representation and the inclusion of intersectional analysis. First of all, it is a chronology underpinned by events that occurred in the Anglo-Saxon world—to name some: suffragism, the publication of iconic books (such as Betty Friedan's The Feminine Mystique, 1963), the Anita Hill case (1991), the #MeToo movement.

This paper offers a close analysis of an under-researched Australian novel, Blue Skies by Helen Hodgman, that represents pregnancy and early motherhood as a burdensome, joyless responsibility from which the mother must escape. The un-named first person narrator is unable and unwilling to transition into \"a role I didn't choose.\" Deliberately shunning the 'discourses' of a good suburban mother, the narrator chooses risk and individuality over attributes typical of \"good motherhood.\" The narrative explores her path to self-erasure by reflecting on the natural landscape of coastal Hobart and through the use of Tasmanian Gothic (Davidson). Hodgman's text is a complete denial \"matrescence\" and positions selferasure as the only possible outcome where the transition to cultural norms of good motherhood has failed. The lack of naming the mother acts as metaphor for the silence surrounding the loss of womanhood and the absence of any maternal subject position. Blue Skies is a key literary example of the views of motherhood that second wave feminism held it to be a state of erasure, where women claimed that wifehood and motherhood made them feel as though they didn't exist-a problem with no name, as Betty Friedan's The Feminine Mystique documented back in 1963.