Blythe Worthy Blythe Worthy i(11512665 works by)
Gender: Female
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1 Editorial Blythe Worthy , 2017 single work essay
— Appears in: Philament , no. 23 2017; (p. 1-4)

As Rebecca l. Bordt has argued, there have been almost no successful feminist movements that did not also begin, in some shape or form, as collectives.2 This special volume of Philament draws together selected papers from the University of Sydney Feminist Theory Reading Group (FTRG), one of the only postgraduate women’s collectives at the University. Founded in early 2016 by a small group of writers and postgraduate students, FTRG began with a two-pronged intention. Many of us were motivated not only to explore and promote the foundations of feminist theory but to meet other inspired and progressive thinkers. Though the academic environment encourages rigorous research, we felt that opportunities for peer-to-peer support were rare in the postgraduate setting, which limited the dissemination of ideas and opportunities. I myself also noticed how the competitive nature of academia seemed to divide us, promoting isolation and paranoia. I started to think about how demoralising the situation was for early-career researchers, especially as I met newer generations of feminist scholars who had experienced the same age-old frustrations inspired by isolating environments. Friends had stopped supporting and celebrating each other’s achievements and had instead adopted an attitude well expressed by Gore Vidal, who said “Every time a friend succeeds something inside me dies.”3 And once again, individualism seemed to reign over collectivism.' (Introduction)

1 1 y separately published work icon Philament New Waves : Twenty-First-Century Feminisms no. 23 Blythe Worthy (editor), Chris Rudge (editor), 2017 12930313 2017 periodical issue

WITH this special volume of Philament, edited by Blythe Worthy and myself, the journal moves into a new stage of its life. For our last published volume, number 22, “Precarity,” we decided to print a small number of physical copies, largely to satisfy our own curiosities about the cost of the printing process, but also to see whether the aesthetic value of these digital pages, lovingly typeset as they are, would carry over to the parchment. Happy with the results of our experiment, we have decided that we shall this time print a few more copies than the last time, an opportunity made possible thanks to Blythe Worthy’s strong advocacy of the journal and the resultant support we have received from the Sydney Social Sciences and Humanities Advanced Research Centre (SSSHARC).' (Chris Rudge : Editorial Note)

1 Questioning the "Strong Female Character" : Gillian Armstrong's High Tide (1987) Blythe Worthy , 2017 single work essay
— Appears in: Senses of Cinema , June no. 83 2017;
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