Tag Archives: Feminism

Is Feminism Finished?

germaine-greerThere has been an interesting (disconnected) series of articles over at The Spectator (UK) on whether or not feminism is “finished.” One young feminist, Emily Hill, does not bother asking the question, but simply asserts: Feminism is over, the battle is won. Time to move on:

Most self-styled feminists argue that we still struggle in the workplace. On close inspection this isn’t borne out either. Women in their twenties have out-earned men for the last few years; now the under-40s are doing so as well. The speed of our trajectory is startling. Across Europe and America, and particularly in Scandinavia, women are pushing their way on to executive boards and into the seats of power. The French government has passed a law which will require that two in five executive board members of the largest public companies are women. Feminists argue we need quotas in this country, too, but isn’t there a sweeter triumph in the sisters doing it for themselves?

In a second article, another commentator asserts that Women’s issues are for everyone now, not just feminists. In this article (written by a man) we hear that,

That protest was exactly the kind of women-only activism that makes headlines and noise and achieves nothing of substance. It shows that the label ‘feminist’ and the world view of feminism has served its historical function. Feminism has much to be proud of. But now it’s an impediment to progress.

Finally, archetypal  feminist Germaine Greer is in the headlines again, this time accused of “having no place in feminism!”

Alarmingly, Cardiff’s feminist students are running the campaign to shut Greer down. The petition for her lecture to be cancelled was started by the student union women’s officer, who says Greer’s views have ‘no place in feminism’. What a spoilt, ungrateful generation, hilariously unaware that their very ability to speak their minds and rouse some rabble is down to decades of intellectual and social agitation by people like Greer. She helped give them a voice; they try to silence hers. (See: Germaine Greer can say whatever she likes about trans politics.)

So, is feminism “finished”?

Perhaps in some ways the historic movement of feminism has achieved its primary objectives in western societies, or will, as increasingly educated and accomplished women move into more and more influential positions in all sectors of western society.

Still, in my view, more work remains to be done, and not simply by women. The dreadful and ongoing scourge of domestic violence here in Australia is testimony to the continuing difficulty men and women have in establishing mutually respectful and equitable relationships.

Further, women and girls in western and non-western countries are sometimes – too often – subject to the most terrible abuses. Much of this abuse is centred around destructive sexual practices, and in some cases, is largely ignored by western feminists. A female columnist in The Australian last week (sorry, I cannot remember or access the article) blasted her feminist counterparts in this country for their celebration of the sex industry as a sign of female empowerment, and for their apparent lack of concern for women and girls caught in prostitution and sex-trafficking both here and abroad.

The issues are difficult, contentious, and very, very important. Globally, terrible abuses continue to be meted out to women and girls. Vigilance by both men and women are required to ensure that some of these same abuses do not take root in western countries. If western feminists ignore the very real plight of women globally, and the equally real threat toward women in their own cultures; if they seek refuge instead in what a feminist friend labels “outrage at micro-aggressions,” then perhaps feminism is finished after all.

On Being a Reader – Even of Scripture

Pride and Prejudice - PenguinIn 1972, Tony Tanner’s introduction to Jane Austen’s Pride and Prejudice notes:

For during a decade in which Napoleon was effectively engaging, if not transforming, Europe, Jane Austen composed a novel in which the most important events are the fact that a man changes his manners and a young lady changes her mind… Jane Austen’s book is, most importantly, about pre-judging and re-judging. It is a drama of recognition – re-cognition, that act by which the mind can look again at a thing and if necessary make revisions and amendments until it sees the thing as it really is (368-369).

Tanner’s introduction (see Austen, J. Pride and Prejudice, Penguin Classics edition, 1996), provides a psychological reading of Austen’s masterpiece, using the work of Hume as a lens. In his view, Pride and Prejudice deals with issues of character, decisions and “first impressions” (Austen’s working title for the book before its publication).

In the same edition an updated introduction is provided by Vivien Jones, who notes:

Written in a period of political crisis and social mobility, [Austen’s novels] are strategic critical analyses of the moral values and modes of behaviour through which a section of the ruling class was redefining itself … She writes, therefore, about femininity and about class: about forms of identity and about marriage as a political institution which reproduces – symbolically as well as literally – the social order. …

Selfconscious, rational, sceptical: Elizabeth is an Enlightenment figure skilfully integrated, through the mechanisms of romantic comedy, into the traditional Burkean hierarchy which Enlightenment values sought to dismantle…

Romantic love makes individual happiness both the motivation and the goal of moral and social change. … So the power to motivate and reward change, both personal and social, lies with the woman. … This plot formula seems to give women, and the values they represent, a lot of power and responsibility. But it is power of a carefully circumscribed kind. The social order has been modified, not radically altered. Austen’s post-revolutionary achievement in Pride and Prejudice is to put Wollstonecraft’s revolutionary femininity at the service of the Burkean ‘family party’ by writing what is still one of the most perfect, most pleasurable and most subtle – and therefore, perhaps, most dangerously persuasive – of romatic love stories (xv, xxxii, xxxv).

Jones and Tanner are two very different readers of the same story, and provide an excellent example of the reality that who the reader is and what they bring to a text makes a decisive difference to the way they read the text and what they see in it.  Tanner sees a wonderfully written romantic comedy devoid of political significance, while Jones sees a wonderfully written romantic comedy that serves as a vehicle for a sophisticated political vision that fuses elements of early feminism and conservative Burkean hierarchy, against a backdrop of revolutionary France.

It is likely that Tanner was unable to even see what Jones has seen in the story. It is not simply that Jones reads as a woman, though I suspect that is part of it. She is also schooled in feminist literature and history and so is alive and sensitive to issues in Austen’s context that Tanner simply did not see. Is Jones over-reading the novel, seeing in it things that are not there? This is a danger confronting every reader, and could legitimately be asked of Tanner as well. But no, her reading of Austen is insightful and well-supported. Both introductions are excellent and well worth reading, and Penguin is to be commended for keeping them both in their revised volume. They highlight development in Austen scholarship between the early 70s and mid 90s, and feminist contributions to literary study.

They alert us also to the significance of the reader which has evident implications for readers of Scripture. We do not simply read the biblical text in some kind of unfiltered way, gaining direct and unmediated access to “the truth.” Every act of reading is also an act of interpretation, and we interpret what we read according to the frameworks of understanding we bring to the text – whether consciously or unconsciously, whether well or ill-informed.

What has shaped you as a reader?