The contemporary radical feminist position is the direct descendant of the radical feminist line in the old movement, notably that championed by Stan… - Shulamith Firestone
" "The contemporary radical feminist position is the direct descendant of the radical feminist line in the old movement, notably that championed by Stanton and Anthony, and later by the militant Congressional Union subsequently known as the Woman’s Party. It sees feminist issues not only as women’s first priority, but as central to any larger revolutionary analysis. It refuses to accept the existing leftist analysis not because it is too radical, but because it is not radical enough: it sees the current leftist analysis as outdated and superficial, because this analysis does not relate the structure of the economic class system to its origins in the sexual class system, the model for all other exploitative systems, and thus the tapeworm that must be eliminated first by any true revolution.
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About Shulamith Firestone
Shulamith Bath Shmuel Ben Ari Firestone (born Feuerstein; January 7, 1945 – August 28, 2012) was a Canadian-American radical feminist writer and activist. Firestone was involved in the early development of second-wave feminism and a founding member of three radical-feminist groups: , , and . In September 1970, Firestone's The Dialectic of Sex: The Case for Feminist Revolution was published and became an influential feminist text.
Also Known As
Birth Name:
Shulamith Bath Shmuel Ben Ari Feuerstein
Alternative Names:
Shulie
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Shulamith Bath Shmuel Ben Ari Firestone
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Additional quotes by Shulamith Firestone
Women and children are always mentioned in the same breath ("Women and children to the forts!"). The special tie women have with children is recognized by everyone. I submit, however, that the nature of this bond is no more than shared oppression. And that moreover this oppression i intertwined and mutually reinforcing in such complex ways that we will be an able to speak of the liberation of women without also discussing the liberation of children, and since versa. The heart of woman's oppressing is her childbearing and childrearing roles. And in turn children are defined in relation to this role and are psychologically formed by it; what they become as adults and the sorts of relationships they are able to form determine the society they will ultimately built.
Culture then is the sum of, and the dynamic between, the two modes through which the mind attempts to transcend the limitations and contingencies of reality. These two types of cultural responses entail different methods to achieve the same end, the realization of the conceivable in the possible. In the first, the individual denies the limitations of the given reality by escaping from it altogether, to define, create, his own possible. In the provinces of the imagination, objectified in some way – whether through the development of a visual image within some artificial boundary, say four square feet of canvas, through visual images projected through verbal symbols (poetry), with sound ordered into a sequence (music), or with verbal ideas ordered into a progression (theology, philosophy) – he creates an ideal world governed by his own artificially imposed order and harmony, a structure in which he consciously relates each part to the whole, a static (and therefore ‘timeless’) construction. The degree to which he abstracts his creation from reality is unimportant, for even when he most appears to imitate, he has created an illusion governed by its own – perhaps hidden – set of artificial laws. (Degas said that the artist had to lie in order to tell the truth.) This search for the ideal, realized by means of an artificial medium, we shall call the Aesthetic Mode.
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