Act as a Feminist maps a female genealogy of UK actor training practices from 1970 to 2020 as an alternative to traditional male lineages. It re-orientates thinking about acting through its intersections with feminisms and positions it as a critical pedagogy, fit for purpose in the twenty-first century. The book draws attention to the pioneering contributions women have made to actor training, highlights the importance of recognising the political potential of acting, and problematises the inequities for a female majority inspired to work in an industry where they remain a minority. Part One opens up the epistemic scope, shaping a methodology to evaluate the critical potential of pedagogic practice. It argues that feminist approaches offer an alternative affirmative position for training, a via positiva and a way to re-make mimesis. In Part Two, the methodology is applied to the work of UK women practitioners through analysis of the pedagogic exchange in training grounds. Each chapter focuses on how the broad curriculum of acting intersects with gender as technique to produce a hidden curriculum, with case studies on Jane Boston and Nadine George (voice), Niamh Dowling and Vanessa Ewan (movement), Alison Hodge and Kristine Landon-Smith (acting), and Katie Mitchell and Emma Rice (directing). The book concludes with a feminist manifesto for change in acting. Written for students, actors, directors, teachers of acting, voice, and movement, and anyone with an interest in feminisms and critical pedagogies, Act as a Feminist offers new ways of thinking and approaches to practice.

Where does art start or reality end? Happily loitering about London, c. 1949, with the intent of gathering material for her writing, Fleur Talbot finds a job “on the grubby edge of the literary world” at the very peculiar Autobiographical Association. Mad egomaniacs writing their memoirs in advance — or poor fools ensnared by a blackmailer? When the association’s pompous director steals Fleur’s manuscript, fiction begins to appropriate life.

An important new voice provides an empowering look at why video games need feminism—and why all of us should make space for more play in our lives. You play like a girl: It’s meant to be an insult, accusing a player of subpar, un-fun playing. If you’re a girl, and you grow up, do you “play like a woman”—whatever that means? In this provocative and enlightening book, Shira Chess urges us to play like feminists. Playing like a feminist is empowering and disruptive—it exceeds the boundaries of gender yet still advocates for gender equality. Roughly half of all players identify as female, and “Gamergate” galvanized many of gaming’s disenfranchised voices. Chess argues games are in need of a creative platform-expanding, metaphysical explosion—and feminism can take us there. She reflects on the importance of play, playful protest, and how feminist video games can help us rethink the ways that we tell stories. Feminism needs video games as much as video games need feminism. Play and games can be powerful. Chess’s goal is for all of us—regardless of gender orientation, ethnicity, ability, social class, or stance toward feminism—to spend more time playing as a tool of radical disruption.

In the era of identity politics, whose is the I of cultural criticism? And what does the invention of an autobiographical persona have to do with contemporary theory? In Getting Personal, Nancy K. Miller reflects upon the ways in which contingencies of identity and location shape the writing of academic argument and the living of an academic life. Getting Personal explores the new territory of feminist cultural studies and its connections to literary interpretation. The book is organized around a number of academic scenes in which Miller analyses the stakes of feminist critical performance. The focus on occasions, from the conference to the seminar to the professional colloquium, produces an autobiographical perspective on the mini-drama of institutional politics - whether faculty struggles over the canon in elite universities, or student strivings for self-authorization in large urban ones. Writing as a feminist critic, Miller describes the dilemmas of a responsible pedogogic practice: the contradictory demands of authority and complicity for a feminist teacher of literature. Getting Personal examines the rhetorical strategies of a feminism traversed by internal debates over its own self-representations. Working through and among quotations of voices that might otherwise not address each other, Miller assesses a crisis and offers a project for moving on.

Examining three interconnected case studies, Tamar Carroll powerfully demonstrates the ability of grassroots community activism to bridge racial and cultural differences and effect social change. Drawing on a rich array of oral histories, archival records, newspapers, films, and photographs from post–World War II New York City, Carroll shows how poor people transformed the antipoverty organization Mobilization for Youth and shaped the subsequent War on Poverty. Highlighting the little-known National Congress of Neighborhood Women, she reveals the significant participation of working-class white ethnic women and women of color in New York City's feminist activism. Finally, Carroll traces the partnership between the AIDS Coalition to Unleash Power (ACT UP) and Women's Health Action Mobilization (WHAM!), showing how gay men and feminists collaborated to create a supportive community for those affected by the AIDS epidemic, to improve health care, and to oppose homophobia and misogyny during the culture wars of the 1980s and 1990s. Carroll contends that social policies that encourage the political mobilization of marginalized groups and foster coalitions across identity differences are the most effective means of solving social problems and realizing democracy.

Outspoken critic Jessa Crispin delivers a searing rejection of contemporary feminism . . . and a bracing manifesto for revolution. Are you a feminist? Do you believe women are human beings and that they deserve to be treated as such? That women deserve all the same rights and liberties bestowed upon men? If so, then you are a feminist . . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more. Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression. Praise for Jessa Crispin, and The Dead Ladies Project "I'd follow Jessa Crispin to the ends of the earth." --Kathryn Davis, author of Duplex "Read with caution . . . Crispin is funny, sexy, self-lacerating, and politically attuned, with unique slants on literary criticism, travel writing, and female journeys. No one crosses genres, borders, and proprieties with more panache." --Laura Kipnis, author of Men: Notes from an Ongoing Investigation "Very, very funny. . . . The whole book is packed with delightfully offbeat prose . . . as raw as it is sophisticated, as quirky as it is intense." --The Chicago Tribune

This book reconsiders the dominant Western understandings of freedom through the lens of women's real-life experiences of domestic violence, welfare, and Islamic veiling. Nancy Hirschmann argues that the typical approach to freedom found in political philosophy severely reduces the concept's complexity, which is more fully revealed by taking such practical issues into account. Hirschmann begins by arguing that the dominant Western understanding of freedom does not provide a conceptual vocabulary for accurately characterizing women's experiences. Often, free choice is assumed when women are in fact coerced--as when a battered woman who stays with her abuser out of fear or economic necessity is said to make this choice because it must not be so bad--and coercion is assumed when free choices are made--such as when Westerners assume that all veiled women are oppressed, even though many Islamic women view veiling as an important symbol of cultural identity. Understanding the contexts in which choices arise and are made is central to understanding that freedom is socially constructed through systems of power such as patriarchy, capitalism, and race privilege. Social norms, practices, and language set the conditions within which choices are made, determine what options are available, and shape our individual subjectivity, desires, and self-understandings. Attending to the ways in which contexts construct us as "subjects" of liberty, Hirschmann argues, provides a firmer empirical and theoretical footing for understanding what freedom means and entails politically, intellectually, and socially.

“Roxane Gay is so great at weaving the intimate and personal with what is most bewildering and upsetting at this moment in culture. She is always looking, always thinking, always passionate, always careful, always right there.” — Sheila Heti, author of How Should a Person Be? A New York Times Bestseller Best Book of the Year: NPR • Boston Globe • Newsweek • Time Out New York • Oprah.com • Miami Herald • Book Riot • Buzz Feed • Globe and Mail (Toronto) • The Root • Shelf Awareness A collection of essays spanning politics, criticism, and feminism from one of the most-watched cultural observers of her generation In these funny and insightful essays, Gay takes us through the journey of her evolution as a woman (Sweet Valley High) of color (The Help) while also taking readers on a ride through culture of the last few years (Girls, Django in Chains) and commenting on the state of feminism today (abortion, Chris Brown). The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture. Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better, coming from one of our most interesting and important cultural critics.

Feminist Baby is back in the follow-up to the New York Times bestseller by two-time Emmy Award-winning author Loryn Brantz. Feminist Baby is learning to talkShe says what she thinks and it totally rocks! Feminist Babies stand up tall"Equal rights and toys for all!" Feminist Baby is ready for more adventures -- and this time she has friends! Still strong and independent, readers will love Feminist Baby as she continues to teach about feminism in a fresh, accessible way.

The many colorful women in the biblical book of Acts are brought to life in this book from a feminist liberation perspective: Sapphira, whose property in marriage is explained; Lydia, the seller of purple dye; Candace, the queen of Ethiopia; the disciple Tabitha; Priscilla, the co-apostle with her husband, Aquilla; and many others.