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Private Women and the Public Realm
Published online by Cambridge University Press: 07 July 2009
Extract
Following the translation of Jürgen Habermas's The Structural Transformation of the Public Sphere into English in 1989, we have come to see “the public” and “the private” as historically contingent categories bearing upon nests of social practices. The public and private are not just distinctions of geography—so that beyond our front doors we are necessarily and unavoidably in the public—for they bear on authority, authorized voice, citizenship, and credibility in democratic societies. Whereas the Hellenic Greek social order recognized freedom only in the public realm, and only embodied by household masters, the nineteenth-century model of separate spheres cast the public realm as the place where individuals defended the family (equated to the private) from state domination while debating the proper roles for the sexes. Unacknowledged in both models is that agents of the state and the private individuals who have access to the public realm are normalized as exclusively male and of the hegemonic class. The Greek and Victorian models—explicitly relegating women to the home (private) and men to the marketplace (public)—are equally open to critique for being as class-blind as they are hyperbolically universalizing of all cultures and sub-cultures, as if they obeyed a natural law instead of ideological preferences. If we write theatre history with either model in mind and assume that “the public” does not carry with it connotations of power, then we are distorting the evidence and misfiring on our interpretations.
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- Special Section: Feminists Theorize the Past
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- Copyright © American Society for Theatre Research 1994
References
Endnotes
1 Habermas, Jürgen, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society (Cambridge: Polity, 1989) 7Google Scholar, quoting Schmitt, Carl, Verfassungslehre (Berlin: 1957) 208ffGoogle Scholar.
2 Habermas (1989) 11.
3 Habermas (1989) 14.
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