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The current paper features "American Girls in Red Russia: Chasing the Soviet Dream" (2017) by Julia L. Mickenberg, PhD in American Studies from the University of Texas. The author gives a thorough account of reasons that led American women in 1920–1930 to Soviet Russia. One of the chapters is dedicated to American author and journalist Ruth Epperson Kennell (1889–1977), who worked for the Autonomous Industrial Colony Kuzbass in 1922–1924, which makes her part of a unique industrial experiment in international partnership. She fulfilled duties of a secretary and librarian and continued to work at the library of Comintern in Moscow after her contract with Kuzbass expired. In 1928 she accompanied Theodore Dreiser in his Russian tour; he chose her as a prototypefor one of the novellas in his "Gallery of women". Relying on Kennell’s archive and written accounts of other Colony members, J. L. Mickenberg suggests that American women were attracted by the communal lifestyle ofsuch organizations as AIC "Kuzbass", as long as it offered them a relief from what was considered a woman’s traditional duties and a professional and artistic fulfi which led to a paradox: American women left for Soviet Russia in pursuit of the so-called American dream. Professor Mickenberg explains some of the radical feminism in her research subjects from the point of view of psychoanalysis and shows how environment and social changes influenced private life of the "Russian Americans". The monograph proves that the constant interest for the history and heritage of the Autonomous Industrial Colony "Kuzbass" is not only local but international.

Resumo: Observando números da Revista Claudia publicados no Brasil entre 1970 e 1990, esse artigo busca compreender, de um ponto de vista historiográfico, a proliferação de discursos antifeministas na publicação a partir da segunda metade da década de 1980. O antifeminismo como ideia corrente nunca abandonou totalmente a revista. Contudo, discursos de rejeição de um suposto passado radical do movimento foram difundidos na publicação no período, inclusive por mulheres diretamente associadas à história dos feminismos dessa geração, o que instigou o desenvolvimento desta análise. É, portanto, a partir dessa observação, com base em bibliografia de referência sobre a temática e em parte da produção impressa dos feminismos do período, que o artigo se constrói. Abstract: This article seeks to understand, from a historiographic perspective, the proliferation of anti-feminist discourses published in Revista Claudia from the second half of the 1980’s onwards. Antifeminism as a current idea was never completely abandoned by the magazine. However, discourses of rejection of a so-called radical past of the movement were propagated by the publication during this period. Articles with such content were also written by women who were directly associated with feminisms at that time, which motivated the development of this analysis. This article uses both bibliographic references about the thematic and printed material made by different feminist movements at that time.

Il merito delle donne saca a la luz el sólido bagaje cultural y científico de Modesta Pozzo, una pionera en la concienciación de sus coetáneas sobre la necesidad de reflexionar acerca de su propio rol social. Este artículo analiza las claves por las cuales esta autora veneciana trasciende su época, un periodo histórico, el renacentista, en el que muchas mujeres veían cómo el canon patriarcal imperante anulaba sus capacidades académicas. Il merito delle donne shows the strong cultural and scientific background of Modesta Pozzo, a forerunner of raising awareness among her female peers about the need to reflect upon their own social role. This article analyzes the keys that make this Venetian author go beyond her times, a historical period, the Renaissance, in which many a woman saw how the dominant patriarchal canon overshadowed her academic aptitude.

La métaphore des vagues s’est imposée dans les années 1970 pour décrire l’histoire des mobilisations féministes depuis le xixe siècle en Occident. Elle est en même temps de plus en plus contestée dans le milieu académique depuis que les débats sur l’existence d’une troisième vague sont apparus dans les années 1990. Cet article se propose de faire un bilan des usages académiques et militants de cette métaphore afin de leur redonner une historicité et de montrer le poids des enjeux politiques dans ces définitions. Il s’agit, à travers le cas de la France, de montrer comment la métaphore des vagues témoigne de la circulation des appellations entre le discours militant et le discours académique et révèle les tensions existantes pour savoir qui décide de faire naître et mourir les vagues. The “waves” metaphor, which emerged in 1970s to describe the history of feminist mobilizations in the West, has been increasingly challenged in the academic field since the 1990s, when discussions of the “third wave” of feminism emerged. This article reviews the academic and activists’ uses of the metaphor, providing both a historical account and deeper understanding of its political implications. A case study of the wave metaphor in France highlights the international circulations of designations between the activist and the academic discourse. It reveals the existing tensions around what activities or initiatives are included in the various waves, which bodies are present, and when the waves arise or die.

International audience; “Mithila painting” is an umbrella term for ritual/art forms. During the Bihar drought, AIHB encouraged shifting artwork onto paper to generate income, causing socio-aesthetic changes. The resulting globalization coincided with gender/postcolonial studies, deconstructing hegemonic discourses, and male and primitivist canons. The painters/ings narratives undergo a reversal, making visible the overlapping of dominance criteria (gender, caste, class…). Evolution of Mithila art belongs to a connected history involving transnational mediators. Mithila art was a subalternised ritual before commodification. In 1917, Maharaja of Darbhanga assigns no primary function to murals, though the paintings for his daughter’s marriage were sophisticated. They were marginal to male Brahminical values. Guided by upper caste male informants, William Archer documented socalled parallels he saw to modern European art. Even if the reception of his 1949 article reifies a vision of Mithila art based on a stylistic distribution per castes, a collective, anonymous women practice, he was less essentialist than he appears. Nevertheless, his wife Mildred is invisibilized in their common work. Primitivist schemes persist in Vequaud, through a countercultural myth. He positions Mithila art at the heart of a timeless village utopia, casting Mithila as a Lost Eden. He presents painters as prophetic figures within a matriarchal countersociety spread by EMMA magazine. A discourse valuing subalternized minorities emerges by Moser-Schmitt, Ray and Naomi Owens promoting a fair trading system. Moser-Schmitt’s contribution on Mithila artists in Heresies asserts an inclusive radical feminism. Her committed anthropology contributed to the assertion of Dalit women’s identity. Filming and thinking women’s creativity contribute to thwart inequalities. An inclusive feminism emerges early in India with Women's Quest for Power (1980). The shift from a reified vision to its deconstruction has been gradual. The changing of narratives follows global flux and interareal transfers.