ABSTRACT
In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?
TABLE OF CONTENTS
part I|38 pages
Firing the Canon
part II|55 pages
Reading against the Grain: Reading for . . .
part III|104 pages
Heroines: Setting Women in the Canon
chapter 5|32 pages
The Female Hero and the Making of a Feminist Canon
Artemisia Gentileschi's representations of Susanna and Judith
chapter 6|40 pages
Feminist Mythologies and Missing Mothers
Virginia Woolf, Charlotte Brontë, Artemisia Gentileschi and Cleopatra
part IV|117 pages
Who Is the Other?
chapter 8|46 pages
Some Letters on Feminism, Politics and Modern Art
When Edgar Degas shared a space with Mary Cassatt at the Suffrage Benefit Exhibition, New York 1915
