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Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980–81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

Can we remember other people's memories? The Generation of Postmemory argues we can: that memories of traumatic events live on to mark the lives of those who were not there to experience them. Children of survivors and their contemporaries inherit catastrophic histories not through direct recollection but through haunting postmemories—multiply mediated images, objects, stories, behaviors, and affects passed down within the family and the culture at large.In these new and revised critical readings of the literary and visual legacies of the Holocaust and other, related sites of memory, Marianne Hirsch builds on her influential concept of postmemory. The book's chapters, two of which were written collaboratively with the historian Leo Spitzer, engage the work of postgeneration artists and writers such as Art Spiegelman, W.G. Sebald, Eva Hoffman, Tatana Kellner, Muriel Hasbun, Anne Karpff, Lily Brett, Lorie Novak, David Levinthal, Nancy Spero and Susan Meiselas. Grappling with the ethics of empathy and identification, these artists attempt to forge a creative postmemorial aesthetic that reanimates the past without appropriating it. In her analyses of their fractured texts, Hirsch locates the roots of the familial and affiliative practices of postmemory in feminism and other movements for social change. Using feminist critical strategies to connect past and present, words and images, and memory and gender, she brings the entangled strands of disparate traumatic histories into more intimate contact. With more than fifty illustrations, her text enables a multifaceted encounter with foundational and cutting edge theories in memory, trauma, gender, and visual culture, eliciting a new understanding of history and our place in it.

In Teaching Critical Thinking, renowned cultural critic and progressive educator bell hooks addresses some of the most compelling issues facing teachers in and out of the classroom today. In a series of short, accessible, and enlightening essays, hoo

In the introduction to The Second Sex, Simone de Beauvoir notes that "a man never begins by establishing himself as an individual of a certain sex: his being a man poses no problem." Nancy Bauer begins her book by asking: "Then what kind of a problem does being a woman pose?" Bauer's aim is to show that in answering this question The Second Sex dramatizes the extent to which being a woman poses a philosophical problem.This book is a call for philosophers as well as feminists to turn, or return to, The Second Sex. Bauer shows that Beauvoir's magnum opus, written a quarter-century before the development of contemporary feminist philosophy, constitutes a meditation on the relationship between women and philosophy that remains profoundly undervalued. She argues that the extraordinary effect The Second Sex has had on women's lives, then and now, can be traced to Beauvoir's discovery of a new way to philosophize―a way grounded in her identity as a woman. In offering a new interpretation of The Second Sex, Bauer shows how philosophy can be politically productive for women while remaining genuinely philosophical.

What happens when your gender doesn’t fit neatly into the categories of male or female? Even mundane interactions like filling out a form or using a public bathroom can be a struggle when these designations prove inadequate. In this groundbreaking book, thirty authors highlight how our experiences are shaped by a deeply entrenched gender binary. The powerful first-person narratives of this collection show us a world where gender exists along a spectrum, a web, a multidimensional space. Nuanced storytellers break away from mainstream portrayals of gender diversity, cutting across lines of age, race, ethnicity, ability, class, religion, family, and relationships. From Suzi, who wonders whether she’ll ever “feel” like a woman after living fifty years as a man, to Aubri, who grew up in a cash-strapped fundamentalist household, to Sand, who must reconcile the dual roles of trans advocate and therapist, the writers’ conceptions of gender are inextricably intertwined with broader systemic issues. Labeled gender outlaws, gender rebels, genderqueer, or simply human, the voices in Nonbinary illustrate what life could be if we allowed the rigid categories of “man” and “woman” to loosen and bend. They speak to everyone who has questioned gender or has paused to wonder, What does it mean to be a man or a woman—and why do we care so much?

In essays on literary images of lesbianism from Defoe and Diderot to Virginia Woolf and Djuna Barnes, on the homosexual reputation of Marie Antoinette, on the lesbian writings of Anne Lister, Sylvia Townsend Warner, and Janet Flanner, and on Henry James's The Bostonians, Castle shows how a lesbian presence can be identified in the literature, history, and culture of the past three centuries

In many fields, the body is the topic generating exciting new research and interdisciplinary inquiry. Feminist theorists, in particular, have focused on the female body as the site where representations of difference and identity are inscribed. Drawn from a broad range of disciplines, Writing on the Body explores the tensions between women's lived bodily experiences and the cultural meanings inscribed on the female body. The volume includes classic and contemporary essays on rape, pornography, eroticism, anorexia, body building, menstruation, and maternity, and challenges racial, class and sexual categories. Complemented by the editors' introduction, Writing on the Body is a comprehensive sourcebook on the major theoretical positions and critical trends surrounding the female body.

A comprehensive overview of feminist debates surrounding sexuality identifying the main theoretical positions and trends. Contributors include Judith Butler, bell hooks, Luce Irigaray, Catherine MacKinnon, Adrienne Rich, Gayle Rubin, Judith Walkowitz and Monique Wittig.

In this highly original study of sexuality, desire, the body, and women, Liz Wilson investigates first-millennium Buddhist notions of spirituality. She argues that despite the marginal role women played in monastic life, they occupied a very conspicuous place in Buddhist hagiographic literature. In narratives used for the edification of Buddhist monks, women's bodies in decay (diseased, dying, and after death) served as a central object for meditation, inspiring spiritual growth through sexual abstention and repulsion in the immediate world. Taking up a set of universal concerns connected with the representation of women, Wilson displays the pervasiveness of androcentrism in Buddhist literature and practice. She also makes persuasive use of recent historical work on the religious lives of women in medieval Christianity, finding common ground in the role of miraculous afflictions. This lively and readable study brings provocative new tools and insights to the study of women in religious life.

What happens when we consider Africa through a feminist lens and feminism through an African one? And what does it mean to centre selfhood in this journey? In this shining, wide-ranging inquiry, Minna Salami explores these questions through an unhesitating and incisive vision of African feminist political philosophy. Drawing from feminist thought, postcolonial theory, historical insights, and African knowledge systems, Salami combines personal reflection with cultural criticism to offer a vivid and cohesive discussion about power, identity, patriarchy, imagination, and the human condition. Grounded in Africa’s enduring visions of agency and autonomy, Can Feminism Be African? opens new paths for rethinking the narratives that shape our world. This is a timely and thought-provoking read, calling us to rethink the past, present, and future through new perspectives.