Index of Historical Figures

Index of Historical Figures Utilizing a Non-Linear
Historical Methodology
Waaldijk Research Internship
February - April 2016
By: Lindsay O’Keefe

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Created by Lindsay O’Keefe, Research Intern,April 2016
Table of Contents
Queen Elizabeth I....................................................................................................................3
Joan of Arc ...............................................................................................................................5
Florence Nightingale...............................................................................................................6
Baroness Murasaki Shikibu ...................................................................................................8
Elizabeth Gurney Fry..............................................................................................................9
Sacagawea.............................................................................................................................. 10
Catherine the Great...............................................................................................................12
Phillis Wheatley.....................................................................................................................14
Nefertiti...................................................................................................................................16
Empress Dowager Cixi..........................................................................................................17
Grace O’Malley, “Granuaile”................................................................................................19
Saartije “Sarah” Baartman..................................................................................................20
Manuela Sáenz...................................................................................................................... 22
Mary Wollstonecraft ............................................................................................................ 23
Rosa Luxemburg................................................................................................................... 25
Higuchi Ichiyo....................................................................................................................... 26
Anne Boleyn...........................................................................................................................27
Sojourner Truth.................................................................................................................... 28
Susan B. Anthony ................................................................................................................. 29
La Malinche............................................................................................................................31
Bibliography.......................................................................................................................... 32

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Queen Elizabeth I
England – 1533-1603
Link to Wikipedia: https://en.wikipedia.org/wiki/Elizabeth_I_of_England
Recent Scholarly Literature:
 Blood Sisters by Sarah Gristwood, 2013: Link1
 Two Queens in One Isle by Alison Plowden, 2013: Link2
 The Temptation of Elizabeth Tudor by Elizabeth Norton, 2016: Link3
 “Elizabeth I’s Virginity and the Body Evidence: Jonson’s Notorious Crux” by
Kara L. Peterson, 2015: Link4
 “Elizabeth I and Pope Paul IV” by Ted W Booth, 2014: Link5
 “A Queen for Whose Time? Elizabeth as Icon for the Twentieth Century” by
David Grant Moss, 2006: Link6
Quotes:
 “And therefore I am come amongst you at this time, not as for my recreation
or sport, but being resolved, in the midst and heat of the battle, to live or die
amongst you all; to lay down, for my God, and for my kingdom, and for my
people, my honor and my blood, even the dust. I know I have but the body of a
weak and feeble woman; but I have the heart of a king, and of a king of
England, too”(“Elizabeth I (e. 1558-1603)”).7
 “I myself will take up arms – I myself will be your general, judge, and
rewarder of every one of your virtues in the field” (“Elizabeth I (e. 1558-
1603)”).
Van der Tuin and Hemmings Analysis:
Queen Elizabeth I has become the epitome of the “British Golden Age.” David
Grant Moss writes, “For Americans, she represents not just a British Golden Age, but
the exotic allure of royalty, Europe, and a history which runs beyond 200 years”
(Moss 797). Moss discusses the ways that Queen Elizabeth I is represented within the
20th century and explains that what matters about Queen Elizabeth I is her image
and her literary character and not the real person of Queen Elizabeth I (Moss 800).
1 Utrecht University Catalogue;Queen Elizabeth I;February 17, 2016
2 Utrecht University Catalogue;Queen Elizabeth I;February 17, 2016
3 Amazon.com;Queen Elizabeth I;February 17, 2016
4 Academic Search Premier;Queen Elizabeth I;February 17, 2016
7 Originally found at Goodreads.com;Queen Elizabeth I

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Queen Elizabeth I ceases to be a person and “functions as a symbol of power and
authority, ruff, pearls, farthingale, and all” (Moss 803).
Moss presents many interesting ideas about how Queen Elizabeth I functions
as an image and also as a “quasi-feminist heroine” (Moss 798). The ideas of Iris van
der Tuin are also worth utilizing when understanding the role of Queen Elizabeth I,
even though van der Tuin never directly discussed her. Van der Tuin makes it clear
that feminist histories evolve and change and states, “These manners are not
predictable, which means that, under their influence, feminist futures are generated
or emerge in ways that do not rely on canonical feminist politics” (van der Tuin 41).
Queen Elizabeth I is a character that is identified as a feminist figure, as Moss states,
even though she is not from a feminist period of time. Queen Elizabeth I transcends
generations and what it means to be a woman in power. Van der Tuin suggests an
idea of “jumping generations” which “refers toa feminist conceptual tool that
imagine and advances a better future for women, men and Others by “working
through” (Lyotard [1988] 1991) or “through and beyond” (Ahmed 1998, 118) the
feminist past as well as the present conditions of persistent gendering” (van der Tuin
10). Because Queen Elizabeth I has become a symbol and is no longer simply a
person, she exists in these ideas that van der Tuin presents. She jumps generations of
feminism and what it means to be a woman.

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Joan of Arc
France – 1412-1431
Link to Wikipedia: https://en.wikipedia.org/wiki/Joan_of_Arc
 Joan of Arc: A History by Helen Castor, 2015: Link8
 “Joan of Arc, The Church, and the Papacy, 1429-1920 by Larissa Juliet Taylor,
2012: Link9
 “Joan of Arc: Soldier, Saint, Symbol – of What? By James A Freeman, 2008:
Link1 0
 “Joan’s Two Bodies: A Study in Political Anthropology” by Winnifred Fallers
Sullivan, 2011: Link1 1
Joan of Arc is a figment of history that has been modified and adjusted to fit
many different images, ideas, and messages. James A. Freeman writes that,
“uncountable images portray her in contradictory ways, from conquering soldier and
holy icon to patron of causes and objects that she never encountered or would not
appreciate” (Freeman 601). Joan of Arc has become an extremely malleable figure,
she was an icon of martyrdom as well as an inspiration to “women around the world”
(Freeman 603). She has become a figured to be commodified. Freeman writes that,
“Those who exploited her life treated data as nondirective and pliable: the very
nation that abandoned her subsequently adopted her; the same religion that
condemned her later sanctioned her” (Freeman 614). Joan of Arc did not have one
image that was universally understood, even though her story was universally known
(Freeman 602).
Joan of Arc is an iconic figure that is widely known outside of France and
Europe. Clare Hemmings discusses the various narratives that have been utilized to
analysis feminist movements and theories. Hemmings writes, “they [progress, loss
and return narratives] make up the ‘presumed’ of Western feminist stories, and
together they make it hard to think about telling stories in other ways” (Hemmings
132). This idea that “Western feminist stories” are presumed becomes very relevant
to the narrative of Joan of Arc. Joan of Arc has been manipulated and translated into
so many contexts and narratives, removing her from those narratives seems
impossible. However, as Hemmings explains, it is up to the readers and writers to
remove ourselves from these strict narratives (Hemmings 133). The goal is to
8 Amazon.com;Joan ofArc;February 18, 2016
9 Academic Search Premier;Joan ofArc;February 18, 2016

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transcend the narratives that are holding readers and authors back from a new
narrative. Joan of Arc is a historical figure that needs to be reexamined and brought
back into actual history.
Florence Nightingale
Italy – 1820-1910
Link to Wikipedia: https://en.wikipedia.org/wiki/Florence_Nightingale
 “Florence Nightingale: Light to Illuminate the World From the Woman with
the Lantern” by Gulten Dinc, Sait Naderi and Yucel Kanpolat, 2013: Link1 2
 Florence Nightingale: The Angel of the Crimea, a Story for Young People by
Laura E. Richards, 2014: Link1 3
 “Florence Nightingale as a Social Reformer by Lynn McDonald, 2006: Link1 4
 There are many small references to her or publications within nursing
journals that have a 2-3 page tribute article to her, however, most of these are
not critically historical.
McDonald presents Nightingale as a leading social reformer of her time. She
was skilled in politics and lobbying, even though as a woman she has no legal voting
rights (McDonald 12). He presents Nightingale as a very humble person, stating “She
was not feted as a heroine, a status she abhorred, but found useful for getting
people’s attention and assistance” (McDonald 11). The main idea revealed through
McDonald’s presentation of Nightingale was how impactful she was in creating social
reform and developing the field of nursing and also as a pious woman of God
(McDonald 14). This article is similar to many of the recent literature I found on her
that attempts to write a tribute to Nightingale.
Nightingale becomes the representation of what it means to be a social
reformer and a woman who works hard to make the changes that she has given to
society. Hemmings explains feminist movements use of progress narratives. This is
not a narrative that Hemmings prescribes to, nor believes is the best narrative touse,
however, the narrative surrounding Nightingale falls into the trap of the progress
narrative. Hemmings writes, “Western feminist progress narratives position their
subjects as energetic astute, as generative of and residing in a well-earned state of
12 Academic Search Premier;Florence Nightingale;February 18,2016
13 Utrecht University Catalogue;FlorenceNightingale;February 18, 2016
14 Academic Search Premier;Florence Nightingale;February 18,2016

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positive affect” (Hemmings 33). Nightingale is a character that is utilized the
progress either the feminist agenda, i.e. she was a woman of her time that did a lot of
amazing things even though she didn’t have voting rights. Or she progressed the
narrative for nurses as the innovator of their field. With this being said, Hemmings
states, “A linear account of loss and progress in relation to women’s or gender studies
always fails to get at the texture of struggles over meaning and practice, and a
generational view of transition must always displace engagement with the mirroring
across different positions in favor of their antagonisms” (Hemmings 154).

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Baroness Murasaki Shikibu
Japan – 978-1014
Link to Wikipedia: https://en.wikipedia.org/wiki/Murasaki_Shikibu
 “Going to bed with Waley: How Murasaki Shikibu Does and Does not Become
World Literature” by Valerie Henitiuk, 2008: Link1 5
 “Genji Goes West: The 1510 GenjiAlbum Visualization of Court and Capital”
by Melissa McCormick, 2003: Link1 6
 “Rivalry, Triumph, Folly, Revenge: A Plot Line through The Tale of Genji” by
Royall Tyler, 2003: Link1 7
The Tale of Genji by MurasakiShikibu is a book that has been translated into
many different languages and enjoyed across many different cultures. Henitiuk
address this novel by Shikibu expressing the many problems that occurred from the
translations of the novel. She explains that Shikibu’s novel is one that reveals many
ideas about what it meant to be a woman at the time, which Henitiuk compares to
Virginia Woolf (Henitiuk 43). As Henitiuk continues to examine how the various
translations of The Tale of Genji express different ideas, she states that Shikibu could
be understood as a type of “proto-feminist” (Henitiuk 44).Henitiuk later states, “The
mastery of Murasaki Shikibu lies precisely in the fact that her criticism regarding the
fundamental cruelty and systemic violence of the society in which she and her
characters live remains implicit but not less scathing” (Henitiuk 57).
Because of the complications with the translation of Shikibu’s text, van der
Tuin’s understanding of “jumping generations” is extremely valuable. Van der Tuin
writes, “Genealogies provide a window to the surprising futures that have been
dreamt in past feminist expressions, since we are no longer deceived by narrow
circumscriptions of them originating in classificatory accounts” (van der Tuin 59).
The interpretations surrounding Shikibu are extremely tied toher writings meaning
it is important to then study the generations surrounding her. Interpreting the
generational writings surrounding Shikibu becomes extremely important when
attempting to understand her. The ideas presented by van der Tuin allow for a more
complex understanding of her. Shikibu is more than the translators who have
translated her work.
15 Academic Search Premier;Murasaki Shikibu;February 22, 2016

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Elizabeth Gurney Fry
England – 1780-1845
Link to Wikipedia: https://en.wikipedia.org/wiki/Elizabeth_Fry
 “Women in Corrections: Elizabeth Gurney Fry” by Russell L. Craig, 2006:
Link1 8
 “Reforming Women’s Reformatories: Elizabeth Fry, Penal Reform, and the
State, 1950-1970” by Joan Sangster, 2004: Link1 9
 The Rise of Caring Power: Elizabeth Fry and Josephine Butler in Britain and
the Netherlands by Annemieke Van Dreth, 2000: Link2 0
Craig wrote a great summary and description of the life of Elizabeth Gurney
Fry. He explained that Fry was born into a well-off Quaker family who was also
educated (Craig 141). Fry became married, however, she kept her belief of helping
people alive and eventually, one day upon seeing a women’s prison decided she
needed to help the women she saw there (Craig 142). Craig explained that “She [Fry]
then set about lecturing to all who would listen about the prison conditions, helping
the poor, educating nurses, and speaking against capital punishment” (Craig 142).
She became internationally renowned and was “immortalized as having made an
indisputable contribution to British history by having her likeness placed on the
English five-pound note” (Craig 144).
Elizabeth Fry was a woman who is not often brought into the spotlight. Fry
would be a prime case to be described through the generational methodology of van
der Tuin. Van der Tuin writes specifically, “Genealogy becomes an embodied and
embedded practice, that is, we can lose sight of linear and totalizing plots. It must be
remembered, however, that fluid concepts can sediment, whereas sedimentation
does not precondition fluidity” (van der Tuin 61). Genealogy has commonly been
utilized as a linear progression, however, as van der Tuin suggests that genealogy
does not have to be linear. Fry has been memorialized by the five-pound bank note,
presenting her as an important woman of the past, specifically stuck within the first-
wave of feminism. Van der Tuin suggests a type of “jumping generations” that “builds
on the concept that the archive of feminist futures equals contemporary feminism’s
virtual past” (van der Tuin 67). Because Fry is an immortalized woman she is forced
into one generation and thus by utilizing Fry’s concept of jumping generations there
is a possibility to reinterpret her as a historical figure.
18 Academic Search Premier;Elizabeth Fry;February 22, 2016
19 Women’s Studies International;Elizabeth Fry;February 22, 2016
20 Amazon.com;Elizabeth Fry;February 22,2016

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Sacagawea
Native American – 1790-1884
Link to Wikipedia: https://en.wikipedia.org/wiki/Sacagawea
 “Sacagawea and Son: The Visual Construction of America’s Maternal
Feminine” by Patricia Vettel-Becker, 2009: Link2 1
 “Inventing Sacagawea: Public Women and the Transformative Potential of
Epideictic Rhetoric” by Cindy Koenig Richards, 2009: Link2 2
 “Sacagawea’s nickname, or the Sacagawea problem” by Norman K Denzin,
2007: Link2 3
 “Red Woman, White Dreams, Searching for Sacagawea” by Laura E
Donaldson, 2006: Link2 4
Sacagawea is a woman shrouded in some level of mystery as there are few
descriptions of what she actually looked like, thus she became something of an
adjustable symbol for the American people. Vettel-Becker explains the path that
Sacagawea took to become an American heroine and also suffragette icon. Vettel-
Becker writes, “Sacagawea was considered not only the first ‘American’ woman to
vote, but also a young woman who could participate in a momentous and arduous
mission, hold her own among men, and still preform her duties as a mother” (Vettel-
Becker, “Sacagawea and Son” 34). Suffragists were forced to prove that if women
vote, it would “not be detrimental to their health, reduce their fertility, or interfere
with their social responsibilities as wives and mothers” (Vettel-Becker, “Sacagawea
and Son” 35). However, as time continues Sacagawea ceases to be an icon for
suffrage, but “as a signifier of multiculturalism” (Vettel-Becker, “Sacagawea and Son”
43). Sacagawea was the first American woman and thus has been molded and
modified the represent many images.
Sacagawea is very similar to Queen Elizabeth I in that she is a symbol and
representation for the country that she comes from. Similarly, van der Tuin’s concept
of “jumping generations.” Van der Tuin writes, “the methodology of ‘jumping
generations,’ I have borrowed and creatively invested ideas from a plethora of
feminist thinkers from diverse disciplinary and national context” (van der Tuin 73).
As Vettel-Becker writes, it is clear that Sacagawea is an American woman that is
modified, changed, and remade to display a specific image to the American people.
van der Tuin suggests that we look at many different subjects to understand what is
21 Academic Search Premier;Sacagawea;February 23, 2016
24 Women’s Studies International;Sacagawea;February 23, 2016

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going on within the of feminist theory, as mentioned above. As van der Tuin
continues to suggest, diffractions become an essential method to explain these
jumping of generations. Diffractions “disrupt linear and fixed causalities between
words and things…between theoretical schools…and between past, present, and
future” (van der Tuin 96). Sacagawea is a figure that is represented in many different
moethods and changes as it befits the time. Thus, it is essential to find a method to
represent her outside of these various generations. This can be done with the analysis
of van der Tuin’s jumping generations and diffractions.

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Catherine the Great
Russia – 1729-1796
Link to Wikipedia: https://en.wikipedia.org/wiki/Catherine_the_Great
 “Eighteenth-Century Libertinism in a Time of Change: Representations of
Catherine the Great” by Ruth Dawson, 2002: Link2 5
 “Toying with China: Cosmopolitanism and Chinoiserie in Russian Garden
Design and Building Projects under Catherine the Great” by Jennifer Milam,
2012: Link2 6
 “Catherine the Great: A Case for Operational Art” by Adam W. Hilburgh,
2014: Link2 7
 “Performing Autobiography: The Multiple Memoirs of Catherine the Great
(1756-96)” by Monika Greenleaf, 2004: Link2 8
Catherine the Great was a great monarch who achieved many things.
However, as Ruth Dawson explains, she is often remembered for a very different
reason. For the various stories depicting her as sexually adventurous (Dawson 67).
Catherine the Great, or Catherine II, becomes a symbol for criticizing royalty.
Dawson writes, “the emerging middle class was sharpening its critique of the all-
powerful upper levels of society by attacking aristocratic immorality, especially
sexual immorality” (Dawson 68). By criticizing Catherine the Great the middle class
achieves twogoals. One, they criticize the upper/royal class. Two, they criticize and
critic the role of a ruling woman/woman in power. It was said that “A woman for who
all is possible is capable of anything; when a woman becomes queen, she changes her
sex (qtd. In Maza 83)” (Dawson 72). She was yet another woman that was used to
critic the who position of what it meant to be a woman with power and influence.
Again we see another woman in history that should be analyzed through the
use of Hemmings. Hemmings states, “fury is one of the primary modes of
antifeminist expression, despite its frequent claim to have moved beyond politics”
(Hemmings 24). This statement is specifically antifeminist rhetoric and thought,
however it does seem to resonate with Catherine the Great. She was represented as
sexually mischievous and unlike a woman to subvert her legitimacy and power as a
queen, which is the same for antifeminist sentiment simply in a different time.
Hemmings also states, “Sexuality might perhaps be said to be the new ‘gender’ in
25 Women’s Studies International;Catherine the Great;February 24, 2016
26 Academic Search Premier;Catherinethe Great;February 24,2016

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terms of the weight it carries in discourses of coercive modernity” (Hemmings 143).
One new method of possibly understanding a woman like Catherine the Great is
through the guise of her as sexually liberated and free. This progress and moves her
beyond the confines of her specific period in time and geographical location and
positions her instead as simply a sexually liberated woman. This is but one way that
Hemmings suggests as a change of narrative.

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Phillis Wheatley
American Slave – 1753-1784
Link to Wikipedia: https://en.wikipedia.org/wiki/Phillis_Wheatley
 “Phillis Wheatley: A Muslim Connection” by Will Harris, 2015: Link2 9
 “Uncovering Subversion in Phillis Wheatley’s Signature Poem: ‘On being
brought from AFRICA toAMERICA’” by Mary Catherine Loving, 2016: Link3 0
 “Our Phillis, Ourselves” by Joanna Brooks, 2010: Link3 1
 “Writing Africa under the Shadow of Slavery: Quaque, Wheatley, and
Crowther” by Adeleke Adeeko, 2009: Link3 2
 “Phillis Wheatley’s Ghosts: The Racial Melancholy of New England
Protestants” by Jennifer Thorn, 2010: Link3 3
 “Who are Lost and How They’reFound: Redemption and Theodicy in
Wheatley, Newton, and Cowper” by Jeffrey Bilbro, 2012: Link3 4
In Loving’s article, she attempts tosubvert the understanding of one of Phillis
Wheatley’s poems, “On being brought from AFRICA to AMERICA.” She attempts to
reexamine the traditional reading of this poem and attempts to show Wheatley’s true
discontent through the writing of this poem (Loving 74). Loving states, “Careful
textual analysis begins with a reader’s awareness of a writer’s engagement within the
norms of her period, norms which are, in fact, ‘forms which can be filed in different
fashions’ (Barthes 1985c)” (Loving 69). Loving believes that Wheatley’s poem is one
what is well crafted and well written (Loving 69). Loving explains that Wheatley
purposes crafts this poem to both be accessible to many readers, but also to work as a
form of critique on the institution of slavery, and Christian slavery at that. She also
writes, “In arguing for a reading of Phillis Wheatley’s poetry that focuses on what I
read as her efforts at subversion, I enter into the ongoing discourse surrounding her
work. I enter this discourse not as a historian or as a literary critic, but as a reader”
(Loving 73).
As Loving’s analysis of Wheatley’s poem points out, the meaning behind a
poem is important, thus the utilization of Hemmings is relevant. Hemmings writes,
“the story of the past is consistently told as a series of interlocking narratives of
29 Academic Search Premier;Phillis Wheatley;February 24, 2016

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progress, loss, and return that oversimplify this complex history…” (Hemmings 3).
Loving addresses a similar idea attempting to unravel the simplified narrative
surrounding Wheatley. As Hemmings title explains, the story surrounding Wheatley
matters. Hemmings suggests a narrative of empathy, which would allow scholars to
see multiple sides of the story (Hemmings 201). By utilizing this understanding of
the scholarly value of empathy would allow Wheatley to be understood as more than
simply a past slave, but also as an African woman living within a repressive society
attempting to surpass her chains (both metaphorical and real). The empathy is
valuable to interpret Wheatley because she is colored as simply being a well written
slave woman. She is more complex than that and had more complex goals in her
poetry as Loving points out.

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Nefertiti
Ancient Egypt – 1353-1336BC
Link to Wikipedia: https://en.wikipedia.org/wiki/Nefertiti
 “In Search of History’s Greatest Rulers” by Jarrett A Lobell and Eric A Powell,
2013: Link3 5
 Sexual Personage: Art and decadence from Nefertiti to Emily Dickinson by
Camille Paglia, 1990: Link3 6
 Ancient Egypt: The Egypt of Nefertiti (Volume 2) in T.D. van Basten, 2015:
Link3 7
 Legends of the Ancient World: The Life and Legacy of Queen Nefertiti by
Charles River Editors, 2013: Link3 8
Nefertiti was an Egyptian Queen and the wife of the pharaoh Akhenaten
(“Nefertiti”). Nefertiti and her husband were known for the religious revolution that
they developed (“Nefertiti”). The article “In Search of History’s Greatest Rulers” by
Lobell and Powell, they discuss some of history’s famous rulers and Nefertiti is thus
cited. However, the article does not go in depth. It does, however, reveal her
importance within history if not only for her name and the position that she
exemplified.
Nefertiti is one woman in history whose name is well known, but the facts
surrounding her life become muggier. Van der Tuin introduces the term
“classifixation” stating, “classifixation” so as to demonstrate how a classification is
not a neutral mediator but is thoroughly entangled with the work that it does (cf.
MacLure 2013)” (van der Tuin 19). Nefertiti, as a historical figure, is classified as a
pharaoh from Egypt. What van der Tuin introduces and explains is that “feminist
new materialisms do not continue to classifixate feminist thought, but rather imply a
non-dualist take on the feminist theories of the past” (van der Tuin 21). Nefertiti is a
historical figure that does not have a lot of historical facts surrounding her, however,
what we do know means that she should not be classified with everyone else.
Utilizing the idea of classifixation and the framework from new material feminists,
Nefertiti will not simply be categorized as a ruler from the past or as the wife of a
Pharaoh.
35 Academic Search Premier;Nefertiti;March 2, 2016
36 Utrecht University Catalogue;Nefertiti;March 2, 2016
37 Amazon.com;Nefertiti;March 2, 2016
38 Amazon.com;Nefertiti;March 2, 2016

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Empress Dowager Cixi
China – 1853-1898
Link to Wikipedia: https://en.wikipedia.org/wiki/Empress_Dowager_Cixi
 “Oneself as a Female Diety: Respresntations of Empress Dowager Cixi as
Guanyin” by Li Yuhang, 2012: Link3 9
 “ ‘Going Public:’ Portraits of the Empress Dowager Cixi, Circa 1904” by Cheng-
hua Wang, 2012: Link4 0
 “Rethinking Empress Dowager Cixi through the Production of Art” by Li
Yuhang and Harriet T. Zurndorfer, 2012: Link4 1
 “The Empress Dowager as Dramaturg: Reinventing Later-Quing Court
Theater” by Liana Chen, 2012: Link4 2
 “Fantasy as History: The Invention of Cixi, Empress of China” by Christine
Doran, 2002: Link4 3
Empress Dowager Cixi is one emperor of China that has been shrouded in
controversy. Twoscholars who have attempted to unravel ravel Cixi’s complex
imagery is Li Yuhang and Harriet T. Zurndorfer. Yuhang and Zurndorfer explain how
Cixi came to power as the concubine and mother of the emperor’s son (Yuhang and
Zurndorfer 3). They alsoexamine how various historians have described and
understood her as one of the emperors of Qing China. They state, “Liang Qichao
compared Cixi with all women who had interfered in state affairs in Chinese history,
and criticized her unlimited greed for power and her conspiracy to usurp the throne”
(Yuhang and Zurndorfer 5). Cixi is yet another woman who is constantly criticized
for the simple fact that she is a woman. As they continue their article they state, “In
PRC-issued publication dating from 1949 through the 1970s, her image became
intertwined with Communist discourses on nationalism, modernizations, capitalism,
and feminism” (Yuhang and Zurndorfer 9). As a ruler she, like many others, is
inevitably tied to both the problems of female rulers, but also to the feminist
movement. She is a ruler who is massively critiqued by the present and recent past,
but still remains a very relevant figure.
Hemmings is a useful scholar to utilize when examining Empress Dowager
Cixi because the stories and histories surrounding her are essential to understanding
her as a historical icon. Hemmings explains, “The arguments circle around subject
39 Academic Search Premier;Empress Dowager Cixi;March 2, 2016
43 Women’s Studies International;Empress DowagerCixi;March 2, 2016

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status, are as much about identifying pretenders tothe position of feminist subject,
as they are claims to occupy that position” (Hemmings 191). Hemmings explains that
the ideas that surround an icon are just as important as the actual facts, as they
express the positions of the person. Understanding how Cixi fits into the larger
narrative and how she is being utilized to express that narrative can remove her from
the often problematic negative female leader narrative. Hemmings goes on to
explain, “I proposed a potential set of realignments that do not simply invest these
instutionalized histories with alternative affects, but scramble their component parts
in ways that, I hope, resonate to allow a shadow life to be glimpsed, one version of
the possible” (Hemmings 195). Hemmings suggests an “unscrambling” of the icon in
question, in this case Cixi, to explain an alternative history not confined by the time
period in question.

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Grace O’Malley, “Granuaile”
Ireland – 1530-1603
Link to Wikipedia: https://en.wikipedia.org/wiki/Grace_O%27Malley
 “Containing Granuaile: Grace O’Malley in TwoNineteenth-century Novels” by
Patrick Maume, 2015: Link4 4
 Pirate Queen: The Life of Grace O’Malley 1530-1603by Judith Cook, 2004:
Link4 5
 “Ireland’s Pirate Queen” by Anne Chambers, 1999: Link4 6
 The pirate queen: in search of grace o’malley and other legendary women of
the sea” by Barbara Sjoholm, 2004: Link4 7
Grace O’Malley, also known as Granuaile, is a character shrouded in mystery
and intrigue. Maume compares two novels written within the nineteenth-century
about Grace O’Malley. He writes, “Perhaps this slippery approach to fact is
appropriate to Granuaile’s dual role as both historical figure and folk hero; such an
approach also gives greater scope for authorial evasion and self-indulgence” (Maume
99). As the article continues Maume explains the background of the two authors and
the way each of their novels unfold. Throughout the article Maume reveals the many
personalities that O’Malley takes on throughout each author’s novel. Maume states
that “Maxwell and O’Brien’s portraits of Granuaile each suggest that women’s
involvement in politics reflects personal frustration, and that true happiness lies in
home and family” (Maume 114). She is a figure that changes as the author sees fit,
however, there is clearly common ground between the two authors and what they
want to present about O’Malley.
Grace O’Malley, aka Granuaile, is a character of both fact and fiction making
her yet another figure to utilize van der Tuin. Van der Tuin explains, “Contrary to
classificatory generationality, the genealogical method helps to understand
conceptual shifting along timelines that capture the often erratic, utterly nonlinear
generation (of thought, practices, and artifacts) itself” (van der Tuin 59). It is clear
that O’Malley is not a past feminist. However, because she is utilized by authors and
historians to create and present a specific narrative van der Tuin’s ideas are very
relevant here. As stated above, the shift in the narrative moves to express and change
the story that is represented by O’Malley. In Chapter 4 of Generational Feminism,
van der Tuin explains the many ways feminist thinkers, among others, utilize the
44 Academic Search Premier;Grace O’Malley;March 2, 2016
45 Amazon.com;Grace O’Malley;March 2, 2016
46 Academic Search Premier;Pirate O’Malley;March 2, 2016
47 Women’s Studies International;PirateO’Malley;March 2, 2016

20
understanding of genealogy to produce a narrative, commonalities, or a discourse.
This is extremely relevant and apparent in the stories and narratives that surround
O’Malley. By utilizing van der Tuin to explore the narratives surrounding O’Malley
historians can better explore who is was historically versus legend.
Saartije “Sarah” Baartman
South Africa – 1789-1815
Link to Wikipedia: https://en.wikipedia.org/wiki/Saartjie_Baartman
 “AKA: Sarah Baartman, The Hottentot Venus, and Black Women’s Identity”
by Carol E. Henderson, 2014: Link4 8
 “ ‘Even with the Best Intentions:’ The Misreading of Sarah Baartman’s Life by
African American Writers” by Natasha Maria Gordon-Chipembere, 2006:
Link4 9
 “Science Quarrels Sculpture: The Politics of Reading Sarah Baartman” by
Katherine McKittrick, 2010: Link5 0
 “Sara Baartman and the ‘Inclusive Exclusions’ of Neoliberalism” by Sheila
Lloyd, 2013: Link5 1
 “Displaying Sara Baartman, the ‘Hottentot Venus’” by Sadiah Qureshi, 2004:
Link5 2
Sarah Baartman5 3 is an African woman deeply entrenched in a horribly racist
history. Carol E. Henderson examines the story of Sarah Baartman and how her story
is also a story deeply connected to the representation of the black woman’s body.
Henderson quotes other authors stating, “Sara[h] Baartman left, then, mere
fragments of history…[thus] [f]ixing…Baartman within the conventional genre of
biography raises fundamental questions about how we know what we know and how
we write about people whose lives traversed somany geographies and different
cultural worlds (Crais and Skully, 5)”(Henderson 948) . Baartman’s story transcends
geography and transcends any one nation. Henderson explains that Baartman
becomes the “mythos” of what a black female’s body represents in the world today
48 Women’s Studies International;Sarah Baartman;March 2, 2016
49 Women’s Studies International;Sarah Baartman;March 2, 2016
50 Academic Search Premier;Sarah Baartman;March 2, 2016
51 Academic Search Premier, The Hottentot;March 2, 2016
52 Academic Search Premier, The Hottentot;March 2, 2016
53 Here name “Sarah” is spelled as both “Sarah” and “Sara,” as this was not her real name the
“actually” spelling is unknown.

21
(Henderson 949). As Henderson continues to explain Baartman she states,
Such encounters point up the paradoxes of fields of studies like anatomy that rely on
the body to intellectualize the national body politic” (Henderson 950). It becomes
clear through the analysis of Henderson that Baartman represents how the black
female body has been commodified and over-sexualized, and this traces back all the
way to eighteenth-century when Sarah Baartman was being carted around to be view
by Europeans like a circus animal.
Hemmings addresses issues of representation within the world of feminist
history, making her methodology a great one to interpret Sarah Baartman.
Hemmings explains that “sexuality might perhaps be said to be the new ‘gender’ in
terms of the weight it carries in discourses of coercive modernity” (Hemmings 143).
Sexuality has become the new way that people talk about the distinction between the
sexes and the distinction between freedom and repression.5 4 It becomes clear,
especially when looking at the world through the view of Baartman, that the black
woman is still, to this day being sexually exploited (Henderson 952). The West
utilizes this label as a way to present themselves as superior, however, this is also
ironic in the case of Baartman, as they were the ones sexually exploiting her
(Hemmings 142). The use of this sort of analysis on Baartman is one that is ironic as
it using a form of analysis that has been used to point the finger at “uncivilized”
societies, is now analyzing their own personal use of this exploitation.
54 Hemmings goes on to explain that this through the image ofthe veiled Muslim woman who is
thought to be sexually repressed (Hemmings 143).

22
Manuela Sáenz
South America – 1797-1856
Link to Wikipedia: https://en.wikipedia.org/wiki/Manuela_S%C3%A1enz
 “Republican Friendship: Manuela Sánez Writes Women into the Nation, 1835-
1856” by Sarah C. Chambers, 2001: Link5 5
 “Gender, Sexual Desire and Manuela Sánez in the Writings of Jean-Baptiste
Boussingault and Ricardo Palma” by Heather Hennes, 2010: Link5 6
 “ ‘Loca’ or ‘Libertadora’?: Manuela Sanez in the Eyes of History and
Historians, 1900-c.1990” by Pamela S. Murray, 2001: Link5 7
Heather Hennes writes a very compelling article attempting to unravel Sánez
from the very political imagery that her narrative is commonly tied with. Hennes
explains, “this articles offers a critical reading of three nineteenth-century texts that
represent Sánez as a problematic individual whose performance of both masculine
and feminine behaviors was perverse, unnatural and incoherent” (Hennes 87).
Because Sánez was a part of the South American revolution in the nineteenth-
century, she is viewed as being both masculine and feminine. Hennes explains how
many authors of the time present Sánez in a very problematic light. She reveals that
the imagery surrounding Sánez was less about her and more about the fear of
breaking gender roles of the time. Although Hennes does a great job of explaining the
problems that nineteenth-century texts had when discussing Sánez, and also
explaining those author rational, she does not go into any theory about how to better
understand and examine Sánez.
Van der Tuin, on the other hand, will give present day audience a way to
understand Sánez apparent “gender fluidity.” Van der Tuin writes, “A subject
position is never fully fixed; in its fluidity, it works against the grain of the dominant
discourses of malestream society and feminisms based on identity” (van der Tuin 7).
Sánez is not simply a woman, she is also not simply a woman who decided to dress
up as a man, these are two boxes that do not allow her to flourish as the person she
was. Van der Tuin also goes on to state, “ ‘Intra-action’ enables a way of thinking and
researching that moves beyond the existence of isolated and established entities that
subsequently start to interact” (van der Tuin 9). Sánez is interacting with the world
and the labels of gender as she feels works for her. She is more than a female
55 Academic Search Premier;Manuela Sanez;March 3, 2016

23
revolutionary or a woman who just stepped out of her confines. Van der Tuin’s
understanding allow for a better understanding of women like Sánez.
Mary Wollstonecraft
United States of America – 1750-1797
Link to Wikipedia: https://en.wikipedia.org/wiki/Mary_Wollstonecraft
 “Mary Wollstonecraft on Reason, Marriage, Family Life, and the Development
of Virtue in A Vindication of the Rights of Woman” by Paul E. Kerry, 2015:
Link5 8
 “Freedom as Independence: Mary Wollstonecraft and the Grand Blessing of
Life” by Alan M.S.J. Coffee, 2014: Link5 9
 “ ‘The First of a New Genus:’ Mary Wollstonecraft as a Literary Critic and
Mentor to Mary Hays” by Mary A. Waters, 2004: Link6 0
 “Mary Wollstonecraft’s Feminist Critique of Property: On Becoming a Thief
from Principle” by Lena Halldenius, 2014: Link6 1
 “ ‘Like a Fanciful Kind of Half Being:’ Mary Wollstonecraft’s Criticism of Lean-
Jacques Rousseau” by Martina Reuter, 2014: Link6 2
Quotes:
 “Independence I have long considered as the grand blessing of life, the basis of
every virtue” – Wollstonecraft, Mary. A vindication of the rights of women.
Harmondsworth, UK: Penguin, 1992.6 3
Alan M.S.J. Coffee writes a very inspiring and telling article describing the
important insights that Mary Wollstonecraft brought to the early suffragette
movement. On his own Coffee already does a great job of understanding
Wollstonecraft as a complex player in history. Coffee explains and examines
Wollstonecraft through a very feminist heroine way. Hemmings explains “The
Western feminist stories I have been concerned with require and produce a heroine
who is continuous with her past and remains the subject of a familiar present and
58 Academic Search Premier;Mary Wollstonecraft;March 3, 2016
60 Women’s Studies International;Mary Wollstonecraft;March 3, 2016
63 Cited in Coffee article “Freedom as Independence”

24
future feminism” (Hemmings 191). Coffee portrays Wollstonecraft as an extremely
brilliant feminist, which is probably accurate.
However, that being said, it does still fit into the narrative Hemmings
presents. Coffee explains, “As Wollstonecraft uses it, the term independence should
be understood in the context of the republican or Commonwealthman tradition in
which freedom is contrasted with slavery…Tobe free was to be independent in the
sense of having the capacity to act in one’s own name without having to ask
permission or rely on the goodwill of others” (Coffee 910). Coffee explains that
Wollstonecraft was a clearly well read, literate, and intelligent person, not even
woman, of her time. He closes out his argument with “Nevertheless, in probing the
logic of independence and expanding its application from legal and economic
relations to include cultural forms of domination, she has developed a
comprehensive account of the conditions necessary for women’s social freedom”
(Coffee 919).
It is clear that Coffee understands Wollstonecraft as an extremely important
figure in history and as extremely important for the feminist movement. However, it
is not so clear that he attempts tounravel and reveal a more complex history relating
to Wollstonecraft. Hemmings explains, “In my view, it is precisely the extent to
which Western feminist storytelling invests in an absolute difference between a
feminist and a nonfeminist position that consolidates rather than alleviates its
amenability” (Hemmings 193). With this Hemmings explains that there is a problem
with separating people simply between feminist and nonfeminist. We cannot simply
uphold women like Wollstonecraft as royalty and condescend other women in history
whom were clearly opposed.

25
Rosa Luxemburg
Germany – 1871-1919
Link to Wikipedia: https://en.wikipedia.org/wiki/Rosa_Luxemburg
 “Roses are Red: The Peculiar Remembrance of Rosa Luxemburg in Lyric
Poetry” by Ruth J. Owen, 2012: Link6 4
 “Luxemburg on Tahrir Square: Reading the Arab Revolutions with Rosa
Luxemburg’s The Mass Strike” by Zemni, Smet, and Bogaert, 2013: Link6 5
 “New Perspectives on Rosa Luxemburg’s Critique of Global Capitalism” by
Peter Hudis, 2012: Link6 6
 “The Luxemburg Legacy: Concretizing the Remembrance of a Controversial
Heroine?” by Anna Saunders, 2011: Link6 7
 “Rosa Luxemburg and Hannah Arendt: Against the Destruction of Political
Spheres of Freedom” by Sidonia Blattler and Irene M. Marti, 2005: Link6 8
Ruth J. Owen’s article goes through and examines the role of the poetry in
examining Rosa Luxemburg’s assassination. This article is about the ways that poetry
has represented Luxemburg, not necessarily who she was in reality. Because of this
she becomes something of a story that van der Tuin expresses. Owen writes, “What is
distinctive about the representation of Rosa Luxemburg in poetry can lie in
encountering the death without life, or with a provocative voice at odds with
respectful commemoration” (Owen 130). Owen explains the representation of
Luxemburg but does not untwine her from these meanings and what these
representations state about women.
Van der Tuin’s analysis is explains that generational feminism is a way that
can help to reanalyze and reinterpret women from throughout history. She explains,
“The methodology of jumping generations changes the parameters of generational
feminism and enables the abandonment of a feminist center, takes advantage of
running on multiple and traversal tracks, and stimulates channeling one’s energies
and desires to seeking commonalities in difference and useful coalitions vis-à-vis
current-day problems” (van der Tuin 9). This explains that the need for a
generational feminism is a way tounderstand and examine women from throughout
64 Rosa Luxemburg;Academic Search Premier;March 24, 2016

26
history. It allows women to exist within a similar spectrum and not just within a
linear time period.
Higuchi Ichiyo
Japan – 1872-1896
Link to Wikipedia: https://en.wikipedia.org/wiki/Ichiy%C5%8D_Higuchi
 “Happiness Foreclosed: Sentimentalism, the Suffering Heroine, and Social
Critique in Higuchi Ichiyo” by Timothy J Van Compernolle, 2004: Link6 9
 “Maid Housewife, and Affective Labor in Higuchi Ichiyo’s “Warekara”” by Miri
Nakamura, 2015: Link7 0
 The Uses of Memory: Critique of Modernity in the Fiction of Higuchi Ichiyo
by Timothy J Van Compernolle, 2006: Link7 1
Most of the articles that discuss Higuchi Ichiyo directly reference her writings
and are not necessarily on her as a person. Miri Nakamura wrote an article that
described the cult of happiness regarding the maid and the housewife as described by
the story “Warekara” by Ichiyo. Nakamura goes through the various roles that
housewives and maids played in Meiji Japan. Nakamura writes, “Since the 1900s
“Warekara” has enjoyed renewed scholarly interest as an important text that exposes
the social conditions of women in the middle of the Meiji period” (Nakamura 48). It
is clear that the role of the housewife and the maid are both very interesting and
unique roles within Meiji Japan. The article does a great job of examining these roles,
however, it does not address the way that Ichiyomay have influenced her story.
Hemmings writes about the various roles that women exhibit in society. She
explains, “The arguments circle around subject status, are as much about identifying
pretenders tothe position of feminist subject, as they are claims to occupy that
position” (Hemmings 191). Ichiyois a female writer who is tied with what it means to
be a strong female writer. Nakamura writes specifically, “In women’s literature, they
act as informants for their mistresses while performing household duties”
(Nakamura 45). Hemmings is a woman that understands and examines the female
author’s voice within history. She understands that the was feminist stories are told
can make a huge difference when attempting to understand who the woman is being
the mask (Hemmings 193).
69 Ichiyo Higuchi;Women’s Studies International;March 24, 2016
7 0 Ichiyo Higuchi;Academic Search Premier;March 24, 2016
7 1 Ichiyo Higuchi;Amazon.com;March 24, 2016

27
Anne Boleyn
England – 1501-1536
Link to Wikipedia: https://en.wikipedia.org/wiki/Anne_Boleyn
 “Anne Boleyn, Queen of England” by Retha Warnicke 2002: Link7 2
 “Rethinking the Fall of Anne Boleyn” by Greg Walker, 2002: Link7 3
 The Life and Death of Anne Boleyn by Eric Ives, 2005: Link7 4
Greg Walker wrote a piece attempting to understand the true reason for Anne
Boleyn’s fall from queendom. He writes, “Historians have tended to agree, dividing
between those (a minority) who have accepted that she was guilty, and those who (in
far greater numbers) have opted for innocence, and consequently pursued various
conspiracy theories to explain the motives for the murders” (Walker 2). Walker
understands that there is a lot of controversy that surrounds Anne Boleyn and he
attempts tounderstand the facts that have been used against her. He, however, does
not problematize the use of these facts as much as he could. Hemmings writes
specifically about feminist story-telling, however he understanding of story-telling is
something that is worth exploring and understand even outside feminist circles. She
writes, “My interventions focus specifically on citation tactics and on textual affect as
starting points for unravelling the stuff of Western feminist storytelling to
transformative effect” (Hemmings 3). Boleyn is a huge character in the story
regarding Henry Tudor. Thus, story-tellers and historians alike attempt totell the
story they believe is the one most worth telling.
Hemming gives historians like Walker a new perspective to view figures like
Boleyn. Walker examines the historical narrative surrounding Boleyn and clearly
views it as problematic but could go a step further to also examine the gendered
language that exists for the Queen of England who was also convicted of adultery.
She is forever intertwined with gendered language.
7 2 Anne Boleyn;Academic Search Premier;March 24, 2016
7 3 Anne Boleyn;Academic Search Premier;March 24, 2016
7 4 Anne Boleyn;Amazon.com;March 24,2016

28
Sojourner Truth
Link to Wikipedia: https://en.wikipedia.org/wiki/Sojourner_Truth
 “Post/secular truths: Sojourner Truth and the intersections of gender, race
and religion” by Katrine Smiet, 2015: Link7 5
 “‘I don’t know how you will feel when I get through’ : Racial difference,
woman’s rights and Sojourner Truth” by Teresa C. Zackodnik, 2004: Link7 6
 “ “Grotesque and Ludicrous, but Yet Inspiring:” Depictions of Sojourner Truth
and Rhetorics of Domination” by Roseann M. Mandziuk, 2014: Link7 7
 “Affective Geographies: Sojourner Truth’s Narrative, Feminism, and the
Ethical Bind of Sentimentalism” by Naomi Greyser, 2007: Link7 8
 “The Floating Icon and the Fluid Text: Rereading the Narrative of Sojourner
Truth” by John Ernest, 2006: Link7 9
 “Sojourner Truth: Bringing Order Out of Chaos” by Miriam Ma’at-Ka-Re Mon
Ges, 2005: Link80
Quotes:
 “Ain’t I a woman”
Sojourner Truth is a woman who has been claimed by black feminists as an
icon “todraw attention to the complex oppression that black women face” (Smiet 10).
Katherine Smiet discusses the role Sojourner Truth plays regarding the feminist
movement in detail. She has become the black feminist icon for intersectional
feminism. Smiet even specifically writes, “The popularity of Sojourner Truth and the
phrase ‘Ain’t I a woman’ in the feminist movement at the time meant that hooks saw
no need to attribute the phrase to Truth explicitly” (Smiet 10). Because she was, and
is, so well known, she becomes tainted by the Western feminist rhetoric that
Hemmings discusses. One interesting statement made by Hemmings is, “In my view,
it is precisely the extent towhich Western feminist storytelling invests in an absolute
difference between a feminist and a nonfeminist position that consolidates rather
than alleviates its amenability” (Hemmings 193). When feminists become invested in
the telling of a feminist story a specific narrative is developed irrelevant of facts or
7 5 Sojourner Truth;Women’s Studies International;March 25, 2016
7 6 Sojourner Truth;Women’s Studies International;March 25, 2016
7 7 Sojourner Truth;Academic Search Premier;March 25, 2016
80 Sojourner Truth;Academic Search Premier;March 25, 2016

29
figures. This is exemplified when Smiet cites bell hook’s use of the phrase ‘Ain’t I a
woman’ without even stating Sojourner Truth’s name.
Susan B. Anthony
Link to Wikipedia: https://en.wikipedia.org/wiki/Susan_B._Anthony
 “Beneath the Suffrage Narrative” by Grace Farrell, 2006: Link81
 “Feminism, Religion, and the Politics of History” by Deborah Whitehead,
2011: Link82
 Susan B. Anthony Rebel, Crusader, Humanitarian by Alma Lutz, 2014: Link83
 Elizabeth Cady Stanton and Susan B. Anthony: A Friendship That Changed
the World by Penny Colman, 2011: Link84
 All Men and Women are Created Equal: Elizabeth Cady Stanton’s and Susan
B. Anthony’s Proverbial Rhetoric Promoting Women’s Right by Wolfgang
Mieder, 2014: Link85
Susan B. Anthony is a woman that will forever be at the forefront of American
women’s suffrage and this is exactly what Grace Farrell wrote about. Farrell presents
an interesting reexamination of who the most impactful suffragettes were. He
presents a new narrative regarding the main leaders of the feminist movement that is
not well known. He states, “Although Susan B. Anthony would soon insist again on
petitioning as her major political strategy, in the 1880 election, she and Lillie
Devereux Blake split New York between them, Anthony canvassing the western
counties and Blake the eastern (Blake, Autobiography 38:2)” (Farrell 49). He works
to reinterpret Anthony as the face and the heart of the American suffrage movement
by presenting Blake as an opposition to Anthony.
Anthony is very clearly a feminist icon which makes her an ideal figure to
utilize Hemming’s analysis. Hemmings writes, “Feminist theorists need to pay
attention to the amenability of our own stories, narrative constructs, and
grammatical forms of discursive uses of gender and feminism we might otherwise
wish to disentangle ourselves from if history is not simply to repeat itself”
81 Susan B. Anthony;Women’s Studies International;March 25,2016
82 Susan B. Anthony;Academic Search Premier;March 25, 2016
83 Susan B. Anthony;Amazon.com;March 25, 2016
84 Susan B. Anthony;Amazon.com;March 25, 2016
85 Susan B. Anthony;Utrecht University Catalogue;March 25, 2016

30
(Hemmings 2). There is a clear need for the use of Hemmings analysis with Susan B.
Anthony because she is clearly entangled with the progress narrative of the feminist
movement. Hemmings explains, “Western feminist progress narratives position their
subjects as energetic and analytically astute, as generative of and residing in a well-
earned state of positive affect” (Hemmings 35). Progress narratives are not what
Hemmings believes are the best narratives touse. Thus, they need to be unraveled
and reexamined as Hemmings suggests.

31
La Malinche
Aztec – 1501-1529
Link to Wikipedia: https://en.wikipedia.org/wiki/La_Malinche
 “Malintzin/La Malinche/Dona Marina: re-reading the myth of the treacherous
translator” by Pilar Godayol, 2012: Link86
 “La Malinche Speaks Back: Colonialism and Resistance in IreneoPaz’s Dona
Marina (1883)” by Amy Robinson, 2012: Link87
 “The Three Malinches: Betrayal and the death of an urban popular movement”
by Patricia L. Price, 2001: Link88
 “Feminism, nation and myth: la malinche” by Rolando Romero and Amanda
Nolacea Harris, 2005: Link89
La Malinche is yet another historical figure that is represented in many
different ways, for many different purposes. Pilar Godayol examines the myths
surrounding La Malinche especially relating to the translation. Godayol writes, “La
Malinc/Done Marina left no written document and is therefore the product of
historical reconstructions…She has appeared in chronicles and histories since the
conquest of New Spain and their authors have debated about her role and her
identity” (Godayol 62). Depending on which text is read, La Malinche has a slightly
different image and representation. This makes her a figure that is a part of the
“jumping generations” concept that van der Tuin discusses. She writes, “The
methodology of jumping generations changes the parameters of generational
feminism and enables the abandonment of a feminist center, takes advantage of
running on multiple and transversal tracks, and stimulates channeling one’s energies
and desires to seeking commonalities in difference and useful coalitions vis-à-vis
current-day problems” (van der Tuin 9). La Malinche is a figure that is described
quite differently depending on what she is meant to represent.
Godayol states, “Ever since the Spanish chronicles, in texts before and after
Independence and right up to the twentieth-century literature of Mexican and
Chicano authors, La Malinche has been interpreted as a “Mexican Eve,” a traitor who
sold herself to the conquerors…” (Godayol 65). Even though she is represented
differently by different authors, Godayol clearly explains that there are certain
86 La Malinche;Academic SearchPremier;March 25,2016
87 La Malinche;Academic SearchPremier;March 25,2016
88 La Malinche;Women’s Studies International;March 25, 2016
89 La Malinche;Women’s Studies International;March 25, 2016

32
representations of her that often remain consistent with her story. But even within
this it is clear that she is expressed for different purposes.
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