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In Dworkin's lifetime, two volumes considered and analyzed the body of her work: Andrea Dworkin by Jeremy Mark Robinson, first published in 1994, [169] and Without Apology: Andrea Dworkin's Art and Politics by Cindy Jenefsky in 1998. [170]
Pages in category "Books by Andrea Dworkin" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes. I. Intercourse (book) P.
In Intercourse, Dworkin extended her earlier analysis of pornography to a discussion of heterosexual intercourse itself. In works such as Woman Hating (1974) and Pornography: Men Possessing Women (1981), Dworkin had argued that pornography (this includes erotic literature) in patriarchal societies consistently eroticized women's sexual subordination to men, and often overt acts of exploitation ...
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My Name is Andrea tells the story of Andrea Dworkin's life through a mixture of archive footage and dramatic performances by five different actresses, representing her at different ages: Amandla Stenberg and Soko play a young Dworkin, interested in poetry and politics; Andrea Riseborough is the wife in Amsterdam; Ashley Judd and Christine Lahti play the older Dworkin as she became a public figure.
In Scapegoat, Dworkin compared the oppression of women to the persecution of Jews, [1] [failed verification] discussed the sexual politics of Jewish identity and antisemitism, and called for the establishment of a women's homeland as a response to the oppression of women, just as the Zionist movement had established a state for Jews.
While Dworkin was living in Amsterdam, she met Ricki Abrams, a feminist and fellow expatriate.Abrams introduced Dworkin to early radical feminist writing from the United States, and Dworkin was especially inspired by Kate Millett's Sexual Politics, Shulamith Firestone's The Dialectic of Sex and Robin Morgan's Sisterhood Is Powerful. [1]
Dworkin analyzes (and extensively cites examples drawn from) contemporary and historical pornography as an industry that hates and dehumanizes women. Dworkin argues that the industry is implicated in violence against women, both in its production (through the abuse of the women that are used to star in it) and in the social consequences of its consumption by encouraging men to eroticize the ...