Journal articles on the topic 'Women's Emancipation Union'

A product of their time and of the internalized Soviet ideology that to a great extent shaped women's gendered self-fashioning as women and mothers, Soviet manuscript cookbooks became popular among Soviet women in the late 1960s. Based on the semiotic reading of two personal manuscript cookbooks in the author's family, this article explores what these cookbooks, in combination with the author's family history, tell about how Soviet women used and reshaped the gender roles available to them in late Soviet everyday life. The author also asks questions about the cost of emancipation in a society that could not truly support such progress socially or economically.

AbstractThis article analyses the interactions between the Women's International Democratic Federation (WIDF) and its Mexican and Cuban national chapters and affiliated organizations. Focusing on the National Bloc of Revolutionary Women, the Democratic Union of Mexican Women, and the Democratic Federation of Cuban Women, this article studies the ideological foundations these organizations defended and the action programmes they used to materialize them. One of its main contributions is to argue that Mexican and Cuban socialist and communist women contributed to the struggle for women's emancipation within the Eastern Bloc through grass-roots contributions that did not simply emulate European communist organizations, but drew on, and were informed by, national contexts, material conditions, and historical backgrounds. The increasing number of requests, demands, and proposals emerging from Latin America, and more specifically from Mexico and Cuba, ultimately fostered a steady process of decentralization that broadened visions of women's progress within the global leftist feminist movement during the early Cold War.

There are many gender imbalances in the social and economic sphere of Ukraine, the reasons for which originate in the peculiarities of the state policy of the Soviet Union with regard to women. Although the official ideology asserted that the "women's question" in the USSR had been resolved and equality between women and men had been achieved, this issue required deeper analysis and research. Despite a certain number of works devoted to the study of women's issues in the USSR, it must be stated that the problem of the economic activity of Ukrainian women in the Soviet national economy has not yet been given due attention and is very relevant and useful for further research on gender issues. Therefore, the purpose of this article is to trace the changes in the economic activity of Ukrainian women associated with the formation, establishment and modifications of the Soviet regime, to analyze the real situation of women in the USSR and their participation in social production.It was found that the involvement of the female labor force in the USSR production used legislating gender equality, domestic "emancipation" of women, the eradication of illiteracy and the involvement of women in different levels of education, the development of the system of social guarantees and benefits for women through active advocacy, deployed socialist competition. It was established that the gender division of labor was almost leveled thanks to the policy of widespread involvement of women in production activities at the stage of the formation of the Soviet economy and after the Second World War. However, later the concentration of women in certain sectors of the economy, mainly those where the use of their labor was explained as a continuation household responsibilities of women, which in turn affected the gender pay gap. It can be argued that the main task of the Soviet emancipation policy towards women was to use them additional labor resourse in the Soviet economy.

This artide deals witli the basic differences that may exist today and will continue to do so in the nearest future between the goals that women strive for in Eastern and Western Europé with regard to their future rights to equal opportunities with men. The women's liberation movement in Eastern Europé and the Soviet Union was embryonic during the Communist era, but it does not seem likely that it will make much progress during the present post- Communist period. Rather than gender, it is still elementary needs and poverty that dominate the everyday life of women in post-Communist Eastern Europé. The case of Yugoslavia illustrates how much the situation of women has deteriorated and how the emancipation of women has been thwarted in the East European countries.

Soviet socialism shared with its utopian socialist predecessors a critique of the conventional family and its household economy. Marx and Engels asserted that women's emancipation would follow the abolition of private property, allowing the family to be a union of individuals within which relations between the sexes would be “a purely private affair.” Building on this legacy, Lenin imagined a future when unpaid housework and child care would be replaced by communal dining rooms, nurseries, kindergartens, and other industries. The issue was so central to the revolutionary program that the Bolsheviks published decrees establishing civil marriage and divorce soon after the October Revolution, in December 1917. These first steps were intended to replace Russia's family laws with a new legal framework that would encourage more egalitarian sexual and social relations. A complete Code on Marriage, the Family, and Guardianship was ratified by the Central Executive Committee a year later, in October 1918. The code established a radical new doctrine based on individual rights and gender equality, but it also preserved marriage registration, alimony, child support, and other transitional provisions thought to be unnecessary after the triumph of socialism. Soviet debates about the relative merits of unfettered sexuality and the protection of women and children thus resonated with long-standing tensions in the history of socialism.

The main concern of this paper is the issue of women workers' identity and class consciousness. This investigation is principally based on in-depth interviews with three generations of female factory workers. Extremely unequal power relations between capital and labour is insufficient to explain the more pronounced exploitation of female workers over males. In spite of these women having the potential for collective power, their factory lives have been characterized by treatment in constant violation of labour laws. Low-caste female workers have gone through a process of effeminization which has acted to curb their class identity and limit their scope of action. In the process of caste and class emancipation, the question of gender has been neglected by trade union leaders and politicians. The radicalism of males is built upon women's maintaining of the families – a reality which strongly contradicts hegemonic gender discourses and confuses gender identities.

The subject of the Study is the poetics of the feuilleton “Poděbrady cicerone” (1924) by Mykola Chyrskyi. The feuilleton “Poděbrady cicerone” was an effective response of the writer to the desire of the Ukrainian Academy of Economics (UAE) students to criticize his views on the ideas of women’s emancipation, as well as editors’ of student issues satirical attitude to the volume of prepared materials. The objective of the article is to study the achievements of M. Chyrskyi in the use of common techniques of artistic visuality creation in a message and the implementation of the ideological and thematic idea. The hermeneutic method of analysis of a journalistic text was used to achieve the objective. The results of the study clarify the features of the central image of Cicerone, the composition of the text and its subject matter. Cicerone is an experienced mediator between travelers and the phenomena of reality exposed in the feuilleton. The recipient looks at the memorable places of Poděbrady through the author’s eyes, his remarks become dominant in shaping the idea of the town, the UAE and the people who studied and lived there. The colorful details of student life, the activities of some parties, artistic, public organizations and associations were reproduced in the feuilleton in a humorous tone, including the women’s union, provocatively named the “Organizations of a problematic nature” in the feuilleton. The composition of the feuilleton was created with the help of assembly technology. The assembling elements emphasized the emotional, semantic, and associative connections between the individual characters and the episodes. The clash of incompatible episodes helped to create comic artistic effects, to reflect the dynamic situation of observing the life of the Ukrainian student community. In addition to the main topic, the feuilleton implicitly raised the issue of editing and reducing journalistic materials in student periodicals in exile. The feuilleton allowed the writer to involve readers in the discussion of important issues, which turned the works of this genre into an active factor of public life. The appearance of materials about women's emancipation in Ukrainian foreign periodicals and the participation of women in the multifaceted life of migrants verified the considerable attention to these issues in the Ukrainian emigrant environment. However, the feuilleton achievement of the writer is not limited to the works of the outlined subject. This promising layer of M. Chyrskyi journalistic heritage can reveal new features of the writer’s poetics in further research.

In February 1893 the feminist journal Shafts published two articles by Mrs. A. Phillips the second of which provided an esoteric reading of the crucifixion in which Phillips, making recourse to Sanskrit, argued that Christ's death on the cross symbolized the “perfect marriage union of the male and female” (qtd. in Dixon, Divine Feminine 163). Feminist theosophists such as Phillips believed Christianity's neglect of the Divine Feminine to have resulted in a masculinist ordering of religious authority and in the concomitant subordination of women. The editor of Shafts, Margaret Shurmer Sibthorpe, agreed; she added a note to Phillips's second article urging her readers to work towards the formulation of a gospel that would facilitate women's emancipation. In the same issue of Shafts, Sarah Grand's The Heavenly Twins was reviewed. The reviewer cited at length a passage from the novel's Proem characterizing the divine as the union of the male and female principles and concluded with a discussion of the “heavenly twins” of the novel's title. The Shafts reviewer, however, did not explore the significance of religious allusions in The Heavenly Twins, nor did she examine the relation between the dual-sexed divine of the Proem and the story of the heavenly twins, Angelica and Diavolo Hamilton-Wells. Subsequent Grand scholars have not, for the most part, taken up these questions. The possibility that the novel might constitute an attempt to reconfigure dominant discourses of religion and gender, of the kind Sibthorpe had called for and Phillips undertaken, is largely unconsidered. The New Woman as a “modern maiden” is instead assumed to emerge from a predominantly secular cultural context.

The aim of the research is to study the activities of Armenian national, charitable organizations, boards of trustees, unions, colleges and schools established in the large cities of the Ottoman Empire with considerable Armenian population, particularly in Constantinople, in the second half of the 19th century. The charities helped schools and colleges with clothing, daily allowance, stationery, and financial means. The study undertakes to classify these companies and unions according to the purpose of their humanitarian and patriotic activities and their ideological basis. It is important not only in terms of systematization of charities and colleges but also in terms of women's issues in Armenology. The relevance of the study concerns the formation of ideas about women's issues and the awakening of women's self-consciousness in the second half of the 19th century and the beginning of the 20th century. As a result, in the context of women's emancipation processes, not only the function of the Armenian charitable associations and colleges founded in the Ottoman Empire in the second half of the 19th century, but also their goals, plans, strategies, and ideological bases have been studied. In addition, the research examines the issues of women's rights, emancipation, education, and upbringing in the period in question. Charities, schools and colleges founded by women functioned as a result of activities for the benefit of the nation. Many graduates of these institutions later became teachers, worked in newly opened schools and colleges, and spread progressive ideas of women's emancipation.

The confluence of social and political forces during the Menzies era stalled the progress of wage justice for women workers until the end of the 1960s. Nevertheless, women’s organisations and the progressive trade union movement advocated equal pay for the sexes throughout this period. This article examines the contribution of the Union of Australian Women (UAW), which represented the interests of working-class women, to the campaign for equal pay from 1950 to 1966. It discusses the ways in which the mixture of women’s culturally accepted domestic roles and widespread anti-communism muted enthusiasm for the UAW’s message. The article argues, however, that the UAW made an effective contribution to keeping equal pay in the public consciousness, redressing the inattention to working-class women’s role in their economic emancipation.

This paper is dedicated to the history of the Women’s International Democratic Federation (further WIDF), the influential transnational organization of the period of the Cold War. The scholars who were dealing with the history of this organization have different opinions about its activities and historical role. Indeed, several researches have shown that the federation realized a lot of solidarity work; the federation was important not least with respect to the anti-colonial and anti-racist struggles as well for cooperation between women from inside and outside Europe. But on the other hand, historically this organization was seen as dependent from the Soviet Union or as the organization where Communist ideas and Soviet bloc’s geopolitical interests have played an important role. The aim of this paper is to explore some of the contradictory aspects of the WIDF’s ideology and activities. I use the WIDF’s official publications, first of all, the federation’s journal Women of the Whole World/ Zhenshchiny mira (published from 1951 in English, French, Russian and, later on German, Spanish and Arabic) vis-à-vis the material from the archive in Moscow, belonging to the WIDF’s member organization from the Soviet Union (GARF, Fond of the Committee of the Soviet Women). In this paper I discuss the federation’s use of the achievements of the state socialist countries on the way to women’s emancipation as well as WIDF’s main political concepts and some of their interpretations. Thus, I explore the contradictions with respect to how the concepts as human rights, democracy and women’s rights were used in WIDF’s documents from different periods as well as discuss conflicts connected to their use.

Latin American and Latina women's sexualities have often been represented, and theorized, along the terms of sexual morality, restraint and emancipation. In this article, I explore how sexual norms have changed for women in queer spaces in Mexico City over the past two decades. I suggest that sexual practices that were characterized as transgressive in 2000 became normalized in lesbian circles in the following decade, in the 2010s. Ten years of public discussions on sexual education, abortion, anti-discrimination laws, same-sex unions, and in lesbian circles on polyamory had taken place transforming gender and sexual subjectivities. Ultimately, as I reflect on change regarding gender and sexualities, I caution against the tendency of depicting social transformations in a linear process, which risks drawing on teleological narratives of progress.

The paper addresses and analyzes the attitude towards women and the question of women’s rights of the Russian right-wing politicians in the early 20th century. The paper demonstrates the views of the right-wingers on the place of women in the Russian society; their attitude toward feminism and fight for women’ rights; place and role of women in the right monarchical movement. The paper introduces some new sources into the scholarship which enable to reconsider conventional viewpoints on the attitude of rightists toward the question of women’s rights and to enhance the perception of the place of this question in ideology and practice of the pre-revolutionary Russian conservatism. Based on church and patriarchal convictions, the right-wingers largely limited women’s activities by family life, but their views on the issue of women’s rights did not rule out progress in this area. Right-wingers were not opposed to extension of women’s participation in labor activity, albeit with significant reservations. Being foes of feminism and emancipation of women, they tried to shapre a negative image of women’s rights activists, connecting this fight with the revolutionary attacks on traditional social foundations and statehood. At the same time, the right-wingers were utterly alien to misogyny; they celebrated an ideal of womanhood corresponding to their conservative worldview. The right-wingers willingly admitted women into their unions, but tended to perceive them not as party activists and leaders but as a force that would quell political tension inside the monarchical movement and would primarily deal with issues of culture, philanthropy, education, and other “womanish” matters.

In dominant western society, we tend to interpret the experiences of immigrant women as emancipation and liberation, rather than as the complex experiences of subjects acting within several hegemonic systems. While intersectional and transnational feminism led to questioning this view through the discussion of the challenges faced by immigrant women from developing countries, their counterparts from socialist countries have been largely ignored. To address this gap, this article focuses on the employment and social reproduction experiences of 11 white, professional, heterosexual, immigrant Jewish women from the former Soviet Union (FSU) who are now living in Toronto, Canada. The data used in this article was collected as part of a study on lived experiences of Jewish immigrant couples from FSU in Toronto. This study utilized intersectional feminist analysis as a theoretical framework and combined the qualitative methodologies of Testimonio and Oral History. This data suggests that, for these women, immigration had mixed outcomes. Although the material conditions of their lives may have changed, the traditional moral associations between femininity, domesticity, and maternity remained strong. Apparent heterosexual privilege both challenged and reinforced their subordination, in that it facilitated their access to Canadian education and professional jobs and promoted their social legitimacy/status, while also resulting in greater subordination at work and home where they had more tasks to fulfill than in premigration life. These findings challenge the monolithic representation of immigrant women’s experience and enhance our ability to generate a more comprehensive theory of those experiences.

The paper is provoked by the rejection and falsification of the messages of the Istanbul Convention in Bulgaria and other post-communist countries which caused a wave of homophobia. The author tries to prove that neither in the communist period nor in the post-communist period a real emancipation of women was achieved, the theme of homosexuality was a taboo (in the communist period), over-presented in the first decade of the transition and later stigmatize by the rise of the populist nationalistic discourse. During the communist period, the so called “Unions of the fighters against fascism” turned into the male clientelistic networks granted with many privileges and marginalizing female antifascists. The critical discourse analysis of the press (1976) reveals male dominance and silencing of women playing mostly a decorative role. After the democratic changes the same male actors (nomenclature and former state security officers) benefited from the privatization, but the so called “mugs” (wrestlers) presented the new masculinity in the media: women were extremely sexualized and the new femininity was presented by the prostitutes and the girls in the entertaining industry, the professional women were rarely mentioned. The second part of the paper is a gender analysis of the lexical and grammatical system of the Bulgarian language. The analysis of the dominating metaphors reveals the means of male dominance in the everyday speech. Although the Slav languages have morphemes to denote women’s professions the media discourse prefers the male forms as more prestigious. The definite article and the plural forms serve to emphasise the male forms and to provide their euphony.

The article is dedicated to the British silent film Alice in Wonderland by Percy Stow and Cecil Hepworth, which was found and restored in 2010. The 12-minute film was unusually long for early cinema. Almost all of the survived credits annotate several short scenes at once, showing their interconnection or, conversely, apartness from each other. This suggests that some scenes were sold not separately, but as a series of scenes united by a credit. Structurally, each fragment of the film, consisting of 2–3 scenes, is similar to one episode of series. Therefore, the origin of the principles of seriality in cinema can be associated with film adaptations of fairy-tale stories. The concept of space demonstrates the inner duality of the Wonderland. The private part of it looks like an English landscape garden, while the space of the Queen and her entourage is designed as a classicist regular park. In his adaptation (2010) of Carroll’s fairy-tale, Tim Burton will further unfold the theme of duality and conflict inside the Wonderland. In the 1903 film adaptation, Alice was played by May Clark, a grown-up girl who worked at the Hepworth studio. The dreamlike nature of the screen reality is emphasized by the restraint of the amateur performers’ play and the unobtrusiveness of the fantastic, when the screen fantasy world is both similar and different from the everyday life. The marriageable age of the heroine and some of the scenes that look like Alice’s “going through the torments” make us interpret the action as the embodiment of her unconscious. The magic garden, where a young girl is so eager to get, a symbol of the desirable joys of an adult life, becomes a nightmare for Alice. The film was released in the same year as the Women’s Social and Political Union (WSPU) was established, and it merged into an era of revision of Victorian ideals and rejection of the perception of women in line with patriarchal values. Tim Burton’s film, created in the era of the new emancipation and reconsideration of gender, largely corresponds to the first screen adaptation of Alice in Wonderland, presenting the Victorian world as a generalized image of a society that suppresses the individual and naturally provokes protest.

“We are becoming a 24/7 workforce.” —Fair Workweek Initiative “I Can't Breathe” —Eric Garner, George Floyd, Manuel Ellis, Derrick Scott, Byron Williams, Vincente Villela, Ngozi Mbegu, Willie Ray Banks, James Brown… On May 1, 2020, Justa Barrios, a New York City home-care worker and labor activist, passed away from COVID-19. After working twenty-four-hour shifts for fourteen years, Barrios had injuries and compounding medical issues, including asthma, stomach difficulties, and heart problems. Her doctor determined that she could no longer work twenty-four-hour shifts. Yet when the home-care agency received a letter from the doctor requesting Barrios be assigned to eight-hour shifts, the agency dropped her. Barrios fought back. She found her voice in the “Ain't I a Woman?!” Campaign; comrades described her as a “fearless leader.” Stemming from an alliance among female immigrants and US-born garment, plastics, office, and home-care workers, via workers’ centers such as the National Mobilization Against Sweatshops, this organizing effort has sought to end twenty-four-hour days—and the legally permissible practice of paying for only thirteen hours—in New York state through direct action, the courts, union arbitration, and state legislation prohibiting twenty-four -hour shifts. Women such as Justa Barros, Lai Yee Chan, Mei Kum Chu, Seferina Rosario, and Sileni Martinez see the “Aint I a Woman?!” Campaign as a “new women's movement fighting for control over our time, health, respect and payment.” As a cross-racial group, members chose to invoke Sojourner Truth, who tied together the causes of slavery abolition and women's rights, emancipation from coerced labor and from patriarchy, the dignity of women's labor and the dignity of release from work. But this legislation, which would seem so obviously humane and jarringly anachronistic, has been stalled in the New York legislature and ignored by Governor Andrew Cuomo for over a year.

This study examines the processes and mechanisms through which entrepreneurship leads to the empowerment and emancipation of women living in poverty. Drawing on the entrepreneuring as emancipation perspective, we identify specific activities through which emancipatory entrepreneuring manifests itself in the context of women’s entrepreneurship in India. We observe that the activities of a social entrepreneur—the SEWA trade union—complement the activities of individual entrepreneurs and lead to economic, personal, and cultural empowerment. Further, we find evidence of emancipation at the collective level, expressed in changes of sociocultural norms about women’s entrepreneurship. Our study extends the entrepreneuring as emancipation perspective and contributes to research on empowerment and emancipation, women’s entrepreneurship, and entrepreneurship in developing countries.

Women and girls in contemporary Arab societies suffer from various and intersecting forms of discrimination that deny them their enjoyment of fundamental human rights. The right to freedom of expression is one of the essential areas that may expose this gender-based discrimination and patriarchal attitudes. In many contexts, freedom of expression has enabled women to speak out and organize in civil, political, social, economic and cultural spheres and contexts; participate in their own emancipation and improve their status. Women’s exercise of freedom of expression has also provided them with new rights such as the right to vote, the right to control their own bodies, the right to join unions and the right to equality before the law and to participate in decision-making and hold governments to account. In the last decade, we have witnessed different attacks on women’s rights particularly their right to the freedom of expression, as scholars, journalists, social media users, human rights defenders, politicians and activists. The aim of this article is to explore emerging challenges and to highlight the struggle of Arab women for freedom of expression.

Artiklis vaatlen olmekirjanduse nimelist nähtust – 1970. ja 1980. aastate vahetusel Nõukogude Eestis ilmunud romaane, mille keskseks teemaks olid kaasaegsed sugudevahelised suhted. Asetan olmekirjanduse kitsalt eesti kirjanduspildist laiemale, üleliidulisele taustale, mida kujundavad paljuski sotsioloogia areng ning selle keskajakirjanduslik kajastus. Muuhulgas sõna emantsipatsioon kasutuse kaudu teostes näitan romaanide käsitluslaadi vastavust kaasaegsele ajakirjanduslikule käsitluslaadile. Seeläbi paigutan romaanid ajakirjandusega ühte, „hilisnõukogude liberaalsesse kriitilisse diskursusse“, kus võim ja vastupanu, nõukogulikkus ja ebanõukogulikkus on tihedasti läbi põimunud. In this article, I examine a phenomenon known as 'everyday literature' (olmekirjandus)—novels published in Soviet Estonia at the turn of the 1970s—1980s. By name, these novels could be expected to depict contemporary everyday life, whereas they really focus on gender relations, marital and especially extramarital relationships. Contemporary criticism did not value such books highly; nevertheless, they stood out as a corpus and succeeded in evoking a discussion. In retrospect, everyday novels have been interpreted as a particular incarnation of light/lowbrow literature, as timid harbingers of postmodernism, and as proto-feminist works. While these interpretations all have their grounds, they operate in a narrower context of Estonian (national) literature. In this article, I set everyday novels on a wider background of the cultural situation in the contemporary Soviet Union.This situation was heavily influenced by the rebirth of sociology and its reflections in print media. Having been banned meanwhile since the middle of the 1950s, sociology again became a permitted discipline in the Soviet Union. Among prominent areas of study were matters concerning the private sphere: family life and gender dynamics. That in turn gave rise to an extensive discussion of gender relations and “the woman question” in contemporary print media—in newspapers, culture magazines and popular science magazines. The discourse was one of sharp antagonism, tending to ridicule the state-endorsed slogan of women’s emancipation and gender equality, and to pit men and women against one another.I argue that the vocabulary and the general approach of everyday novels closely corresponds to that of the print media, and acknowledging this allows for the most fruitful interpretation of these works. I demonstrate the close proximity of the novels to media accounts, describing the general problem settings of the novels and, more closely, the use of the very word 'emancipation' itself. Both novels and media texts feature the so-called emancipated woman and her (lacking) counterpart – either an irresponsible womanizer or a weak drunkard of a man. Neither male or female characters are content with the situation and while the blame may shift from one party to another, in novels as well as in media accounts, the phenomenon of emancipation itself is considered a negative, but most importantly, a ridiculous thing.The corpus seems to have awoken opposite intuitions already in its contemporary audience. As most often the case with the literature of the Soviet era, a question of conformism and resistance, of Sovietness and anti-Sovietness has implicitly coloured the discussions of everyday literature. On the one hand, the novels were considered petty, taking on subjects familiar from print media and offering no new depths in their approach. The latter was perhaps most clearly expressed in a 1980 piece by Rein Veidemann that gives its name to the current article, “On the nature, meaning, and function of everyday literature”; according to an exile Estonian reviewer’s ironic comment, everyday novels exemplified the truest socialist realism. On the other hand, they were read very widely and succeeded in stirring up a controversy, thus proving to be at least somewhat unconventional in the time and place of their publication. An evident reason are open references to sexual matters; however, it is not irrelevant that they touched upon the problems of changing gender relations, even if the analysis they offered did not satisfy the audience.In addition to sketching out the general power relations of Soviet Russia and Soviet Estonia, and pointing out the influence of the central Soviet print media on Estonian culture, the framework of postcolonial studies emphasizes that Sovietness and anti-Sovietness does not have to be an either/or question—those seemingly opposite intuitions may well thrive side by side. Drawing a parallel between the novels and media texts among other things allows them to be placed within the 'late Soviet liberal critical discourse', a term used to describe the metaphor-laden media discourse of the 1970s—1980s Soviet Union. This discourse is simultaneously a locus of conformism and resistance, avoiding certain taboo subjects and displaying fiercely critical attitudes toward other, more “harmless” subjects as a manner of managing the dissatisfaction of the Soviet citizen; whereas “the woman question” has been argued to be namely one of such token subjects. Positioning the novels within the late Soviet liberal critical discourse similarly on the one hand blocks the interpretation of the novels as something unprecedented and, no less, subversive and dissident or even implicitly nationalist; on the other hand, it does not completely cut off their critical potential.

IntroductionTraditionally, the femme fatale has been closely associated with a series of noir films (such as Double Indemnity [1944], The Maltese Falcon [1941], and The Big Heat [1953]) in the 1940s and 50s that necessarily betray male anxieties about independent women in the years during and following World War II. However, the anxieties and historical factors that precipitated the emergence of the noir femme fatale similarly existed in the sixteenth century and, as a result, the femme fatale can be re-imagined in a series of Elizabethan and Jacobean plays. In this context, to re-imagine is to imagine or conceive of something in a new way. It involves taking a concept or an idea and re-imagining it into something simultaneously similar and new. This article will argue, first, that the noir femme fatale’s emergence coincided with a period of history characterised by suspicion, intolerance and perceived vulnerability and that a similar set of historical factors—namely the presence of a female monarch and changes to marriage laws—precipitated the emergence a femme fatale type figure in the Renaissance period. Second, noir films typically contain a series of narrative tropes that can be similarly identified in a selection of Renaissance plays, which enables the production of a new, re-imagined reading of these plays as tragedies of the feminine desire for autonomy. The femme fatale, according to Rebecca Stott, is not unique to the twentieth century. The femme fatale label can be applied retrospectively to seductive, if noticeably evil women, whose seduction and destruction of men render them amenable to our twenty-first century understanding of the femme fatale (Allen). Mario Praz similarly contends that the femme fatale has always existed; she simply becomes more prolific in times of social and cultural upheaval. The definition of the femme fatale, however, has only recently been added to the dictionary and the burden of all definitions is the same: the femme fatale is a woman who lures men into danger, destruction and even death by means of her overpowering seductive charms. There is a woman on the Renaissance stage who combines adultery, murder, and insubordination and this figure embodies the same characteristics as the twentieth-century femme fatale because she is similarly drawn from an archetypal pattern of male anxieties regarding sexually appetitive/desirous women. The fear that this selection of women elicit arises invariably from their initial defiance of their fathers and/or brothers in marrying without their consent and/or the possibility that these women may marry or seek a union with a man out of sexual lust.The femme fatale of 1940s and 50s noir films is embodied by such women as Brigid O’Shaughnessy (Maltese Falcon), Phyllis Dietrichson (Double Indemnity), and Ann Grayle (Murder, My Sweet), while the figure of the femme fatale can be re-imagined in a series of Elizabethan and Jacobean plays, including The Changeling (1622), Arden of Faversham (1592), and The Maid’s Tragedy (1619). Like the noir femme fatale, there is a female protagonist in each of these plays who uses both cunning and sexual attractiveness to gain her desired independence. By focusing on one noir film and one Renaissance play, this article will explore both the historical factors that precipitate the emergence of these fatal women and the structural tropes that are common to both Double Indemnity and Middleton and Rowley’s The Changeling. The obvious parallels between the two figures at the centre of these narratives—Phyllis and Beatrice-Joanna respectively—namely an aversion to the institution of marriage and the instigation of murder to attain one’s desires, enable a re-imagined reading of Beatrice-Joanna as a femme fatale. Socio-Cultural AnxietiesThe femme fatale is a component of changing consciousness: she is one of the recurring motifs of the film noir genre and takes her place amongst degeneration anxieties, anxieties about sexuality and race and concerns about cultural virility and fitness (Stott). According to Sylvia Harvey, the emergence of the femme fatale parallels social changes taking place in the 1940s, particularly the increasing entry of women into the labour market. She also notes the apparent frustration of the institution of the family in this era and the boredom and stifling entrapment of marriage and how the femme fatale threatens to destroy traditional family structures. Jans Wager likewise notes that the femme fatale emerged as an expression of the New Woman, whose presence in the public sphere was in opposition to her adherence to traditional societal values, while Virginia Allen argues that the femme fatale came to maturity in the years marked by the first birth control campaigns and female emancipation movement. The Renaissance femme fatale similarly emerged in the wake of historical trigger factors occurring at the time, namely the presence of a female monarch and changes to marriage laws. In 1558, Queen Elizabeth I assumed the throne, which had a profound impact upon relations of gender in English Renaissance society. She occupied a privileged position of power in a society that believed women should have none by virtue of their inferior sex (Montrose). This was compounded by her decision to remain unmarried, which ensured the consolidation of her power that she would have otherwise forfeited to her husband. The presence of a female ruler destabilised established notions of women as passive objects of desire and, as I argue here, contributed to representations of powerful women in Renaissance drama. Men created femme fatales in their work as an expression of what they saw in women who were beginning to declare their sexual and political freedom. In addition, changing conceptions of marriage from arranged practices (unions for social and economic reasons) to romantic idealism (marriage for companionship and affective ties) saw the legitimation of desire outside the holy sacrament. Plays depicting femme fatales, including The Changeling (1622), Arden of Faversham (1592) and The Maid’s Tragedy (1619) to name a few, appear to have fed off the anxieties that resulted from the shift from arranged marriages to individual choice of a spouse. Similarly, in the noir period, “restrictions on women’s rights ensured that married women had comparatively fewer rights than single women, who could at least lay claim to their own property and wages” (Braun 53). As such, the femme fatale represented an alternative to domesticity, one in which a woman could retain her dignity without a man.Re-imagining the Femme Fatale James Damico proposes a model of film noir’s plot structure and character type. The male protagonist is hired for a job associated with a non-innocent woman to whom he is sexually and fatally attracted to. Through his attraction, either because the woman induces him to it or because it is a natural result of their relationship, the man comes to cheat, attempt to or actually murder a second man to whom a woman is unhappily or unwillingly attached (generally her husband or lover). This act invariably leads to the woman’s betrayal of the protagonist and either metaphorically or literally results in the destruction of the woman, the man to whom she is attached, and the protagonist himself. In Double Indemnity, Phyllis Dietrichson lures her hapless lover, Walter Neff, into committing murder on her behalf. He puts up minimal resistance to Phyllis’s plan to insure her husband without his knowledge so that he can be killed and she can reap the benefits of the policy. Walter says, “I fought it [the idea of murder], only I guess I didn’t fight it hard enough.” Similarly, in The Changeling, Beatrice-Joanna’s father, Vermandero, arranges her marriage to Alonzo de Piracquo; however, she is in love with Alsemero, who would also be a suitable match if Alonzo were out of the way. She thus employs the use of her servant DeFlores to kill her intended. He does as instructed and brings back her dead fiancée’s finger as proof of the deed, expecting for his services a sexual reward, rather than the gold Beatrice-Joanna offered him: “Never was man / Dearlier rewarded” (2.2.138-140). Renaissance fears regarding women’s desirous subjectivity are justified in this scene, which represent Beatrice-Joanna as willingly succumbing to DeFlore’s advances: she came to “love anon” what she had previously “fear’st and faint’st to venture on” (3.4.171-172). She experienced a “giddy turning in [her]” (1.1.159), which compelled her to seduce DeFlores on the eve of her wedding to Alsemero. Both Phyllis and Beatrice-Joanna localise contemporary fears and fantasies about women, sexuality and marriage (Haber) and, despite the existing literature surrounding the noir femme fatale, a re-imagining of this figure on the Renaissance stage is unique. Furthermore, and in addition to similarities in plot structure, noir films are typically characterised by three narrative tropes (masquerade, the polarisation of the femme fatale with the femme attrappe and the demise of the femme fatale) that are likewise present in The Changeling. 1. Masquerade: Her Sexual Past Is the Central Mystery of the Narrative The femme fatale appropriates the signifiers of femininity (modesty, obedience, silence) that bewitch men and fool them into believing that she embodies everything he desires. According to Luce Irigaray, the femme fatale assumes an unnatural, flaunted facade and, in so doing, she conceals her own subjectivity and disrupts notions of what she is really like. Her sexual past is often the central mystery and so she figuratively embodies the hidden secrets of feminine sexuality while the males battle for control over this knowledge (Lee-Hedgecock). John Caleb-Hopkins characterises Phyllis as a faux housewife because of her rejection of the domestic, her utilisation of the role to further her agency, and her method of deception via gender performance. It is “faux” because she plays the role as a means to achieve her monetary or material desires. When Phyllis first meets Walter she plays up the housewife routine because she immediately recognises his potential utility for her. The house is not a space in which she belongs but a space she can utilise to further her agency and so she devises a plan to dethrone and remove the patriarch from his position within the home. Walter, as the last patriarchal figure in her vicinity to interfere with the pursuit of her desire, must be killed as well. Beatrice-Joanna’s masquerade of femininity (“there was a visor / O’er that cunning face” [5.3.46-7]) and her performance as a chaste virgin to please Alsemero, suggests that she possesses an ineffaceable knowledge that femininity is a construction that women put on for men. Having surrendered her virginity to DeFlores prior to marrying Alsemero, she agonises that he will find out: “Never was bride so fearfully distressed […] There’s no venturing / Into his bed […] Without my shame” (4.1.2-13). Fortunately, she discovers a manuscript (the Book of Experiments) that documents “How to know whether a woman be a maid or not” (4.1.41). Having discovered the book and potions, Beatrice-Joanna persuades her waiting-woman Diaphanta to take the potions so that she can witness its effects and mimic them as necessary. Thus instructed, Beatrice-Joanna is equipped with the ability to feign the symptoms of virginity, which leads us to the notion of female masquerade as a means to evade the male gaze by feigning virtue and thus retaining her status as desirable to men. Her masquerade conceals her sexual experience and hides the truth of female deceitfulness from the men in the play, which makes manifest the theme of women’s unknowability. 2. Femme Fatale versus Femme AttrappeThe original source of the femme fatale is the dark half of the dualistic concept of the Eternal Feminine: the Mary/Eve dichotomy (Allen). In film noir, the female characters fall into one of two categories—the femme fatale or woman as redeemer. Unlike the femme fatale, the femme attrappe is the known, familiar and comfortable other, who is juxtaposed to the unknown, devious and deceptive other. According to Jans Wager both women are trapped by patriarchal authority—the femme fatale by her resistance and the good wife by her acquiescence. These two women invariably appear side-by-side in order to demonstrate acceptable womanhood in the case of the femme attrappe and dangerous and unacceptable displays of femininity in the case of the femme fatale. In Double Indemnity, Phyllis is an obvious example of the latter. She flirts brazenly with Walter while introducing the idea of insuring her husband and when he finally kills her husband, she stares unflinchingly ahead and continues driving, showing very little remorse after the murder. Lola (Phyllis’s step-daughter and the film’s femme attrappe) functions as a foil to Phyllis. “Lola’s narrative purpose is to provide a female character to contrast with Phyllis to further depict her femininity as bad […] The more Lola is emphatically stressed as victim through Walter’s narration, the more vilified Phyllis is” (Caleb-Hopkins). Lola presents a type of femininity that patriarchy approves of and necessitates. Phyllis is the antithesis to this because her sexuality is provocative and open and she uses it to manipulate those around her (Caleb-Hopkins). It is Lola who eventually tells Walter that Phyllis murdered her mother and that her former boyfriend Nino has been spotted at Phyllis’s house most nights. This leads Walter to conclude, logically, that she is arranging for Nino to kill him as well (Maxfield). The Renaissance subplot heroine has been juxtaposed, here, with the deadly woman at the center of the play, thus supporting a common structural trope of the film noir genre in which the femme attrappe and femme fatale exist alongside each other. In The Changeling, Isabella and Beatrice-Joanna occupy these positions respectively. In the play’s subplot, Alibius employs his servant Lollio to watch over his wife Isabella while he is away and, ironically, it is Lollio himself who attempts to seduce Isabella. He offers himself to her as a “most shrewd temptation” (1.2.57); however, unlike Beatrice-Joanna, who engages in a lascivious affair with another man, Isabella remains faithful to her husband. In so doing, Beatrice-Joanna’s status as a femme fatale is exemplified. She is represented as a woman who cannot control her desires and will resort to any and all means necessary to get what she wants. 3. The Femme Fatale’s Demise The femme fatale is characterised by the two-fold possession of desire: desire for autonomy and self-government and the desire for death. Her quest for freedom, which is only available in death, explains the femme fatale’s desire to self-destruct in these plays, which guarantees that she will never deviate from the course she alighted on even if that path leads inevitably to her demise. According to Elizabeth Bronfen, “the choice between freedom and death inevitably requires that one choose death because there you show that you have freedom of choice. She undertakes an act that allows her to choose death as a way of choosing real freedom by turning the inevitability of her fate into her responsibility” (2004).The femme fatale will never show her true intentions to anyone, especially not the hero she has inveigled, even if it entails his and her own death (Bronfen). In Double Indemnity, Phyllis, by choosing not to shoot Walter the second time, performs an act in which she actively accepts her own fallibility: “I never loved you Walter. Not you or anybody else. I’m rotten to the heart. I used you just as you said. That’s all you ever meant to me. Until a minute ago, when I couldn’t fire that second shot.” This is similarly the case with Beatrice-Joanna who, only at the very end, admits to the murder of Alonzo—“Your love has made me / A cruel murd’ress” (5.3.64-5)—in order to get the man she wanted. According to Bronfen, the femme fatale turns what is inevitable into a source of power. She does not contest the murder charge because a guilty verdict and punishment of death will grant her the freedom she has sought unwaveringly since the beginning of the play. Both Beatrice-Joanna and Phyllis apprehend that there is no appropriate outlet for their unabashed independence. Their unions, with Alsemero and Walter respectively, will nevertheless require their subjection in the patriarchal institution of monogamous marriage. The destruction of the sanctity of marriage in Double Indemnity and The Changeling inevitably results in placing the relationship of the lovers under strain, beyond the boundaries of conventional moral law, to the extent that the adulterous relationship becomes an impossibility that invariably results in the mutual destruction of both parties. ConclusionThe plays of the Elizabethan and Jacobean period, like the noir films of the 1940s and 50s, lament a lost past when women accepted their subordination without reproach and anxiously anticipated a future in which women refused submission to men and masculine forms of authority (Born-Lechleitner). While the femme fatale is commonly associated with the noir era, this article has argued that a series of historical factors and socio-cultural anxieties in the Renaissance period allow for a re-imagined reading of the femme fatale on the Elizabethan and Jacobean stage. In The Changeling, Middleton and Rowley foreground contemporary cultural anxieties by fleshing out the lusty details that confirm Beatrice-Joanna’s status a female villainess. Throughout the play we come to understand the ideologies that dictate the manner of her representation. That is, early modern anxieties regarding the independent, sexually appetitive woman manifested in representations of a female figure on the Renaissance stage who can be re-imagined as a femme fatale.ReferencesAllen, Virginia M. The Femme Fatale: Erotic Icon. New York: Whitson Publishing Company, 1983. Born-Lechleitner, Ilse. The Motif of Adultery in Elizabethan, Jacobean, and Caroline Tragedy. New York: Edwin Hellen Press, 1995.Braun, Heather. The Rise and Fall of the Femme Fatale in British Literature, 1790-1910. Madison, NJ: Fairleigh Dickinson UP, 2012. Bronfen, Elizabeth. “Femme Fatale: Negotiations of Tragic Desire.” New Literary History 35.1 (2004): 103–16. Caleb-Hopkins, John. “There’s No Place like Home … Anymore: Domestic Masquerade and Faux-Housewife Femme Fatale in Barbara Stanwyck’s Early 1940s Films.” Masters thesis. Canada: Carleton University, 2014.Damico, James. “Film Noir: A Modest Proposal.” Film Noir Reader. Eds. Alain Silver and James Ursini. New York: Limelight, 1996.Double Indemnity. Billy Wilder. Paramount Pictures, 1944.Haber, Judith. “I(t) Could Not Choose But Follow: Erotic Logic in The Changeling.” Representations 81.18 (2003): 79–98. Harvey, Sylivia. “Woman’s Place: The Absent Family of Film Noir.” Women in Film Noir. Ed. A. Kaplan. London: British Film Institute, 1978. Irigaray, Luce. The Sex Which Is Not One. Ithaca, NY: Cornell UP, 1985.Lee-Hedgecock, Jennifer. The Sexual Threat and Danger of the Femme Fatale in Victorian Literature. East Lansing, MI: Michigan State UP, 2005. Montrose, Louis. The Subject of Elizabeth: Authority, Gender, and Representation. Chicago: U of Chicago P, 2006.Maxfield, James F. The Fatal Woman: Sources of Male Anxiety in American Film Noir. Madison, NJ: Fairleigh Dickinson UP, 1996.Praz, Mario. The Romantic Agony. Oxford: Oxford UP, 1951 [1933]. Stott, Rebecca. The Fabrication of the Late-Victorian Femme Fatale. London: Macmillan Press, 1992.Wager, Jans B. Dangerous Dames: Women and Representation in the Weimar Street Film and Film Noir. Athens, OH: Ohio UP, 1999.