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• W1517337580 abstract "Emphasizing the burgeoning field of studies, a recent conference entitled Women and Aging: Bodies, Cultures, Generations worked to make bodies and studies more visible in the academy and in the culture at large. Since many credit scholar Kathleen Woodward with the shaping of the field, it was fitting that this conference be organized by the Center for Twentieth-Century Studies at the University of Wisconsin-Milwaukee, which Woodward directs. When studies makes an impact on North American culture, as speaker Margaret Gullette declared, We will look back on this weekend and say, 'it all started here. And it all started with Kathy Woodward.' Many other participants and attendees - who traveled from across the United States and Canada, as well as Australia, Brazil, England, France and India - also commented that this conference confirmed for them that they are not working in isolation, but in a stimulating community of artists and scholars. Like the field it represents, this conference crossed disciplinary and media boundaries. While it was comprised of many scholarly papers on a wide range of issues, the conference also drew upon performance art, poetry, film and photography. On the first night, participants and attendees were treated to a performance by Rachel Rosenthal in which she acted out excerpts from two pieces, screened video clips of other performances and mused on her personal experiences of aging. Friday afternoon Joanne Braxton read from her work of poetry. The conference was also highlighted by two major openings: the premiere of Cecilia Condit's video Oh, Rapunzel (1996) and an exhibition of photographs by Jacqueline Hayden. Themes from bodily transformations to auto/biographical representations circulated throughout the conference. In a panel entitled Cultural Histories of Age: England, New England, Italy, participants moved between histories, cultures and texts to reveal, as Deborah Owen phrased it, dynamic histories of age - within and between the papers. In her work on New England literature and the aging of a region, Owen offered examples of women as the embodiments of history. She claimed, furthermore, that older women are immobile only figuratively within the covers of these nineteenth-century books; otherwise, the texts reveal women as vital and mobile. Teresa Mangum moved between different ages, examining representations of older people in nineteenth-century British children's literature and found, among other things, that Lewis Carroll's Alice used her hyperbolic transformative body of youth to tower over the aged. Robin Pickering-Iazzi similarly traveled between temporal modes to consider how the Italian Futurist Maria Goretti conceived of time and aging. Such cross-disciplinary work was evident throughout many panels. Susan Squier, who said she comes to studies sideways from an interest in reproductive technologies, looked at two early science fiction works, Black Oxen (1923, by Gertrude Atherton) and New Lives for Old (1932, by C. P. Snow) to explore the relationship between popular culture and scientific culture. Intersecting studies and performance studies, as well as creative and scholarly discourse, Anne Basting focused on Carol Channing's performance in the Broadway revival of Hello, Dolly. She observed that Dolly does not ease, assure, or tame about aging. Illustrations of such anxiety appear in film, of course. Both Anca Cristofovici and Jodi Brooks, in fact, examined John Cassavette's Opening Night (1977). Two circulating themes, anxiety and memory, were particularly evident in Brooks's paper, Performing Aging/Performing Crisis, in which she claimed that Cassavette's film is a case of remembering, interrupting, and rewriting a discourse of women, aging, loss, and depression. As such, it also remembers Hollywood films before it, such as All About Eve (1950, by Joseph Mankiewicz), Sunset Boulevard (1950, by Billy Wilder), and Whatever Happened to Baby Jane? …" @default.
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• W1517337580 date "1996-06-22" @default.
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• W1517337580 title "Coming of Age" @default.
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