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Examining the lives and work of historical and contemporary feminist intellectuals, Feminist Thinkers and the Demands of Femininity explores the feminist struggle to ""have it all."" This fascinating interdisciplinary study focuses on how feminist thinkers throughout history have long striven to balance politics, intellectual work, and the material conditions of femininity. Taking a close look at this quest for an integrated life in the autobiographical and theoretical writings of well-known feminists such as Mary Wollstonecraft, Emma Goldman, and Simone de Beauvoir, alongside contemporary

AbstractFeminist cringe comedies eschew the conventions of romance and sentimentality in favor of comedy that discomforts. Cringe comedies are one example of what I call feminism's visual realisms, so named for doing feminist political work by evoking laughter and the cringe. The cringe pulls us inward in our posture, while laughter opens us to others. This bodily response to cringe comedies interrupts the fantasies of the male gaze and makes space for spectators to acknowledge the excessive, complicated, and seemingly shameful realities of female desire. My primary example is Jill Soloway's television adaptation of Chris Kraus'sI Love Dick,a series that builds on the feminist legacy of avant-garde director Catherine Breillat. Departing from politically correct narratives and comforting or sentimental affect,I Love Dickachieves feminist community through the appeal, the cringe, and the irruption of laughter.

Theorizing concrete conditions of freedom as constituted in and through collective life, Beauvoir's work draws our attention to the impact on individuals of different political realities and contexts (capitalism, patriarchy, communism, occupation, colonialism, socialism), the harm in political meanings of various forms of embodiment (race, age, gender), and the direct and indirect effects of oppression and domination on individuals in multiple political contexts. The political events in which Beauvoir was involved and wrote about do not fully come to life. Adapted from the source document.

Counting himself as a boring liberal who would usually dismiss the likes of thinkers such as Emma Goldman as the radical fringe, Don Herzog purports to engage with Goldman's work in order to interrogate the political centrality of reasonableness among liberals and deliberative democrats. Casting Goldman as a lovesick radical, Herzog invites us to read her activism and politics as an affective stance resulting in an accurate critique of the Soviet state. This move countenances Herzog's perverted depiction of Goldman as a swooning girl in love with anarchism and authorizes his lack of engagement with her searing political critique of capitalism and liberal democracy. Hence, Herzog's strategy—to read Goldman's politics as an emotional stance—serves to undermine precisely the sort of political engagement he claims to celebrate.