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In this article, I, using Paul C. Mocombe's structurationist theory of phenomenological structuralism against feminist theories, put forth the argument that the third wave (1990 to the present) of feminine activism against the Protestant Ethic and the spirit of capitalism has given rise to feminine patriarchy, the push by women for equality of opportunity, recognition, and distribution with their white male counterparts by recursively organizing and reproducing the patriarchy of the society, which is institutionalized as the nature of reality as such, in a genderless position of their own. Hence, women have pushed for integration and equality in the Protestant Ethic and the spirit of capitalism as gender neutral agents of the protestant ethic against any other alternative forms of system or social integration, which renders their historical activism dialectical, oppressive, and exploitative; they, paradoxically, reify, commodify, and glorify their sexual female identity as feminine men.

Marking 50 years since the publication of noted sexologist Alfred Kinsey's Sexual Behavior in the Human Female, Feminine Persuasion: Art and Essays on Sexuality celebrates the diverse and multifaceted expressions of women's sexuality that have emerged since Kinsey's study heralded a new era. This beautifully illustrated book showcases five centuries of diverse visual interpretations of female sexuality collected by The Kinsey Institute, and includes work by the contemporary artists Mariette Pathy Allen, Ghada Amer, Patty Chang, Judy Chicago, Renee Cox, Judy Dater, Nancy Davidson, Nicole Eisenman, Laura Letinsky, and Frank Yamrus. In addition to more than 45 color and halftone plates, Feminine Persuasion features two scholarly essays that place this wide-ranging work in context. Assessing what the ideal body image of the original Kinsey subjects might have been, June M. Reinisch discusses the ever-changing standards of female beauty, while Jean Robertson, in a survey of the history of feminist art over the past half century, explores the complex dimensions that constitute this work. The catalog for a three-part exhibition to be presented at the Indiana University School of Fine Arts Gallery from February 14 through March 14, 2003, Feminine Persuasion reveals the future toward which Kinsey's study pointed and gives us a glimpse of the great variety of expressions in the making.

This paper focuses on Zora Neale Hurston's exploration of feminine space and the way she viewed the African Americans in a very fragmentary way borrowing from the post- colonial theory Homi Bhabha's concept of "third space" and from Stuart Hall's concept of "becoming" and "positionality." It also explores the concept of space in selected novels by Hurston, using Edward W. Soja's and Henry Lefebvre's idea about the multiplicity and hybridity of third space in favor of negating the plurality of space, taking it at the end to apply on gender in her chosen fiction.

Cover Page -- Title Page -- Copyright -- Contents -- Ways In To The Text -- Who Was Betty Friedan? -- What Does The Feminine Mystique Say? -- Why Does The Feminine Mystique Matter? -- Section 1: Influences -- Module 1 The Author and The Historical Context -- Module 2 Academic Context -- Module 3 The Problem -- Module 4 The Author'S Contribution -- Section 2: Ideas -- Module 5 Main Ideas -- Module 6 Secondary Ideas -- Module 7 Achievement -- Module 8 Place In The Author'S Work -- Section 3: Impact -- Module 9 The First Responses -- Module 10 The Evolving Debate -- Module 11 Impact and Influence Today -- Module 12 WHERE NEXT? -- Glossary of Terms -- People Mentioned In The Text -- Works Cited

The Westernization of black women in the US and throughout the Diaspora, via ideological apparatuses such as education and the labour market, is symptomatic of the West's attempt to interpellate and embourgeois them, post the 1970s, to fit, converge, with their role as professional managers and service workers in the globalization efforts, for equality of opportunity, recognition, and distribution with their white male counterparts, in spite of some obstacles and roadblocks. This Westernization of black women by global capital, leading to what Paul C. Mocombe calls black feminine patriarchy, is not liberatory; instead, it is integrative, oppressive, exploitative, and a threat to all life on earth as black women become feminine patriarchs recursively organizing and reproducing the Protestant Ethic and the spirit of capitalism of their former white enslavers despite its effects on black family life, the climate, and all life on earth.

In 1949 Simone de Beauvoir asked, "What does it mean to be a woman?" Her answer to that question inaugurated a radical transformation of the meaning of "woman" that defined the direction of subsequent feminist theory. What Beauvoir discovered is that it is impossible to define "woman" as an equal human being in our philosophical and political tradition. Her effort to redefine "woman" outside these parameters set feminist theory on a path of radical transformation. The feminist theorists who wrote in the wake of Beauvoir's work followed that path. Susan Hekman's original and highly engaging ne