So many women, in these
years of radical feminism, have set themselves the challenge of beating men, beating men taken at their worst.
The worst perpetrator is, of course, Mary Daly, whose significant work in The Church and the Second Sex (1968) and the even more important Beyond God the Father (1973) has degenerated into her latest effort, Gyn / Ecology: The
Metaethics of Radical Feminism (1978); about «Spinning and Witches and Great Hags,» it is a book which makes one want either to laugh or cry.
The band uses music, drawings and films to spread a vision
of radical feminism in a beautiful, anti- natural, fearless and happy way to dispel the antiquated notion that there is a hierarchy of artistic mediums.
She rejects a limiting view of feminism as the quest for women's equality with men in
favor of radical feminism's focus on «the autonomy, independence, and creation of the female Self in affinity with others like the Self» (GFF 11).
In the mid-sixties, most of the proponents of the civil rights movement segued into the anti-Vietnam war movement, then into the more generalized counterculture, with all of its continuing
sideshows of radical feminism, gay advocacy, and so forth.
To choose them is to accept the traditional woman's burden — this is a central
tenet of radical feminism — and so to be unfree.
Occupying the world of L. Frank Baum's «The Wonderful Wizard of Oz» and its myriad sequels, Amy Ruhl's «Between Tin Men» reanimates the fairy tale with the
narratives of radical feminism, Marxism, and modern love.
Why did two
of radical feminism's biggest names decide to advise the makers of the new movie about the late porn star Linda Lovelace?