Genealogies and generations: the politics and praxis of third wave feminism

This article interrogates the ways in which post-feminism and third wave feminism are used interchangeably, both within the academy and in the media. As it identifies the ways in which third wave feminism seeks to define itself as a non-academic discourse, it points up the tensions implicit in the contemporary feminist project. It outlines such popular components of third wave feminism as girl culture, the grrrl movement and BUST magazine, before addressing the arguments concerning agency in such icons as Courtney Love, Madonna and the Spice Girls. Positing that the metonymic gap between the personal and the political allows post-feminism to be a viable alternative to feminism, it argues that the wave paradigm paralyses feminism, pitting generations against one another. PD

Excavating Childhood: Fairytales, Monsters and Abuse Survival in Lynda Barry’s What It Is

This article investigates the excavation of abused childhood in Lynda Barry’s What It Is. Looking at the centrality of childish play, fairy tales and the Gorgon in the protagonist’s effort to cope with maternal abuse, it argues that comics complicate the life narrative and allow the feminist reconfiguration of the monstrous mother of Western psychoanalysis and art

“The desecration of the temple”; or, “sexuality as terrorism”? Angela Carter’s (post)feminist Gothic heroine

Carter's fiction sits uneasily in relation to both Gothic and feminist discourses, especially as they converge through the category of the ‘female Gothic’. Owing to her interest in pornography and her engagement with the sexual/textual violence of specifically ‘male Gothic’ scripts – for example, the Gothic scenarios of Sade, Poe, Hoffmann, Baudelaire and Stoker – Carter's Gothic heroines have frequently been censured as little more than objects of sadistic male desires by feminist critics. This article re-reads Carter's sexual/textual violations – her defiance of dominant feminist and Gothic categories and categorisations – through the problematic of (post-)feminist discourse and, especially, the tension between ‘victim’ and ‘power’ feminisms as prefigured in her own (Gothic) treatise on female sexual identity, The Sadeian Woman (1979). Mapping the trajectory of her Gothic heroine from Ghislaine in Shadow Dance (1966) to Fevvers in Nights at the Circus (1984), it re-contextualises Carter's engagements with the Gothic as a dialogue with both the female Gothic and feminist discourse