By Roparz Hemon
This e-book is for the main half an easy translation of the 9th variation of Roparz Hemon's Grammaire bretonne. In getting ready this version, a few sections within the grammar needed to be replaced for the advantage of the English-speaking reader. Many, yet no longer all, of those additions could be present in the notes to a number of the sections.
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Rendered uncanny through her endless returns to popular culture, the housewife seems doomed to conform to the scripts of domestic femininity that the second wave almost laid to rest. Beginning with feminism’s many invocations of the housewife, from Wollstonecraft’s stinging critique of idle wives to Woolf ’s murderous encounter with the Angel in the House, we examine the varied conjurations of the housewife in popular fictions from Stepford Wives (1975; 2004) to American Horror Story. In doing so, we analyse the seductive lure of the postfeminist mystique and its peppy reinvigoration of domestic femininities.
She’s wonderful and inspiring and liberating’ (Lady Gaga qtd in Fry para. 39). Oozing filial deference and admiration, Lady Gaga situates herself as the daughter-inheritor of Madonna’s legacy: she loves Madonna; ‘look[s] like’ Madonna; wants to be compared to Madonna; is inspired by Madonna; and, elsewhere, concedes to her as ‘Queen’ (see Westervelt para. 3). Madonna’s status as a pop matriarch and cultural icon has been atomized with exhaustive diligence in works by Cathy Schwichtenberg (1993), Ann Brooks (1997), Sheila Whiteley (2000), Susan McClary (2002), and Georges-Claude Guilbert (2002).
This approach is echoed in Terry Castle’s The Apparitional Lesbian (1995), Paulina Palmer’s Lesbian Gothic (1999) and Victoria Hesford’s ‘Feminism and its Ghosts’ (2005), which offer varied analyses of the lesbian as a spectre of feminist ‘otherness’. ‘Haunting’, in Hesford’s words, ‘is intrinsic to every dominant social and political order because it is a sign of what has been forcibly expunged or evacuated from that order; the other that threatened to disrupt the emergent hegemony’ (229). indd 21 22/08/2013 13:15 Feminism and popular culture only substitutes for what is not there, but renders apparent that which has been cast out in order to safeguard particular power arrangements.