Word: millet
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Dates: during 1980-1989
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...counterpart, lesbian author Kate Millet, would have agreed wholeheartedly; Millet's talk on "Sex and Censorship" frequently played to the crowd with lines such as "the gay shall lead the way...out of the hetero-straitjacket," which provided welcome relief from tense differences...
...everyone, however, was turned on by the sexual plays on language that Millet personally defines as "erotica." There were also moments during the symposium's polylogue when frictional energies generated by deeply-personal differences erupted in unatt ractive scenes of hostility. These were the sort of hairpulling impulses, for example, which led one woman to speculate on Millet's promiscuous habits during youth, and Millet in turn to counter with the charge that her accuser probably beats her own kids--over the issue of child abuse. Friday night's free-for-all with "bawdy Kate", the author of the ground...
...flirting with the familiar Man vs. Woman oppositions that deodorant commercials of the '70's depicted as feminist chic. The prevailing themes of conflict are now heard through a polyphony of women's voices--straight, gay, and other--marking the shift in strategy from reactionary to constructive politics. Millet's comment that women should focus their energies on "creating eroticism rather than fighting porn" drew loud applause from a packed audience consisting of scholars, housewives, critics, social workers, professionals, conservatives, students, and lesbians, in addition to radical feminists and men--strange bedfellows...
...question of pornography as cause or symptom becomes, in effect, the dividing line among feminist positions: a question of strategy. While MacKinnon supports direct legal action, critics such as Millet and journalist Marsha Pally, who also spoke at the symposium, favor what they consider to be a more longterm strategy of reforming cultural institutions...
...seems worth it. The depot's main building, finished in 1894, is a massive, lovable quirk. The local architect, Theodore Link, was obviously under the influence of Henry Hobson Richardson: rough limestone blocks, big arched doors, Romanesque bulk. But inside and out, he and Louis Millet, the interior decorator, wildly mixed and matched styles. The west wing has its odd Gothic outcroppings, the Grand Hall some rather Moorish nooks and ornament; an intimate dining room seems Viennese; and, of course, the steel-truss roof built to cover trains and tracks is pure 19th century Industrial...