Performing the self : women's lives in historical perspective
1. Introduction: Performing the Self: women's lives in historical perspective Katie Barclay and Sarah Richardson 2. Performing the Self, Performing the Other: gender and racial identity construction in the Nanteuil Cycle Victoria Turner 3. Writing the Self: the journal of Sarah Stoddart Hazlitt, 1774-1843 Gillian Beattie-Smith 4. Writing Women's Histories: women in the colonial record of nineteenth-century Hong Kong Jane Berney 5. Barbara Leigh Smith Bodichon's Travel Letters: performative identity-formation in epistolary narratives Meritxell Simon-Martin 6. 'A notable personality': Isabella Fyvie Mayo in the public and private spheres of Aberdeen Lindy Moore 7. 'The Subject is Obscene: No Lady Would Dream of Alluding to It': Marie Stopes and her courtroom dramas Lesley Hall 8. Body and Self: learning to be modern in 1920s-1930s Britain Charlotte Macdonald 9. Performing the Political Self: a study of identity making and self representation in the autobiographies of India's first generation of parliamentary women Annie Devenish 10. Eve Drewelowe: feminist identity in American art Lindsay E. Shannon 11. Women Activists: rewriting Greenham's history Elaine Titcombe 12. The Changing Face of Exhibiting Women's Wartime Work at the Imperial War Museum Alyson Mercer 13. Concluding Thoughts: performance, the self, and women's history Penny Summerfield
What Happens When an Interview Is Filmed? Recording Memories from Conflict
Abstract Many elements come into play when filmmakers set out to record stories, such as the presence of the camera, who else is present in the interview setting, and how the subject positions that the interviewer and interviewee bring with them and/or take up affect the interviewer-interviewee relationship, and, therefore, the recording. Further, a high degree of trust is required in research projects in societies with legacies of political violence. I explore how these medium-specific conditions influence recordings by discussing films that I worked on in Northern Ireland and South Africa, both of which locations experience continuing instability related to their violent pasts. Specifically, I look at how my production crews and I used participatory practices to build trust among our interviewees.
‘The Girl Behind the Man Behind the Gun’: The Women’s Army Auxiliary Corps, 1914–18
When the idea of a women’s corps attached to the armed services was first raised, it received the same kind of ridicule and disbelief which had earlier surrounded proposals for women police and for many of the same reasons. Women in the army seemed to be the opposite of Victorian feminity that was based on family-centred dependence and weakness. A soldier had to be aggressive, independent of emotional ties with allegiance only to his superiors. Yet by the end of the war in 1918, a Women’s Auxiliary was established as part of the British Army. The way this change came about, the problems and tensions it created for the men of the army, the general public and particularly for the women volunteers themselves are the focus of this chapter.