Stichwort Solanas, Valerie. In: Susan Ware, Stacy Lorraine Braukman (Hrsg.): Notable American Women: A Biographical Dictionary Completing the Twentieth Century. Radcliffe Institute for Advanced Study. Belknap Press, Cambridge, Massachusetts 2004, ISBN 0-674-01488-X, S. 602–603 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 603, linke Spalte: “When publisher Girodias claimed that SCUM was an acronym for Society for Cutting Up Men (something Solanas never seems to have intended), he reinforced the idea that the manifesto was part of a movement of man haters.”
Ginette Castro: American Feminism: A Contemporary History. New York University Press, New York, London 1990, ISBN 0-8147-1435-8 (Erstveröffentlichung: Radioscopie du féminisme américain. Presses de la Fondation Nationale des Sciences Politiques, Paris 1984; aus dem Französischen ins Englische übersetzt von Elizabeth Loverde-Bagwell). Teil 4, Kapitel Radical Feminism, S. 67–105 (eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 73–74: “If we examine the text more closely, we see that its analysis of patriarchal reality is a parody […] The content itself is unquestionably a parody of the Freudian theory of femininity, where the word woman is replaced by man […] All the cliches of Freudian psychoanalytical theory are here: the biological accident, the incomplete sex, ‘penis envy’ which has become ‘pussy envy’, and so forth […] Here we have a case of absurdity being used to as a literary device to expose an absurdity, that is, the absurd theory which has been used to give ‘scientific’ legitimacy to patriarchy […] What about her proposal that men should quite simply be eliminated, as a way of clearing the dead weight of misogyny and masculinity? This is the inevitable conclusion of the feminist pamphlet, in the same way that Jonathan Swift’s proposal that Irish children (as useless mouths) should be fed to the swine was the logical conclusion of his bitter satirical pamphlet protesting famine in Ireland. Neither of the two proposals is meant to be taken seriously, and each belongs to the realm of political fiction, or even science fiction, written in a desperate effort to arouse public consciousness.”
Laura Winkiel: The “Sweet Assassin” and the Performative Politics of SCUM Manifesto. In: Patricia Juliana Smith (Hrsg.): The Queer Sixties. Routledge, New York 1999, ISBN 0-415-92168-6, S. 62–85 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 68–69: “The SCUM Manifesto parodies the performance of patriarchal social order it refuses. It claims a universal authority to run the world on a seamless ‘we’ of SCUM women, but by the appropriation of universalizing discourse, the manifesto reveals how the universal is not universal at all. Solanas's imagined group of vanguard feminist revolutionaries proclaim their takeover of the world. Those particular women, who are only a subset of all women, mock the ‘serious’ way in which certain men actually do run the world. Those men naturalize their their universal authority through the guise of a purportedly democratic access to such power within the public sphere.”
James Penner: Pinks, Pansies, and Punks: The Rhetoric of Masculinity in American Literary Culture. Indiana University Press, Bloomington/Indiana 2011, ISBN 978-0-253-35547-8. Kapitel 5: The Gender Upheavals of the Late 1960s and Early 1970s: The Black Panthers, Gay Liberation, and Radical Feminism, S. 212–242 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 233: “As a work of satire, the ‘SCUM Manifesto’ is rhetorically effective in that it deconstructs the reader's received notions of masculinity and femininity.”
J. Hoberman: The Magic Hour: Film at Fin de Siècle. Temple University Press, Philadelphia 2003, ISBN 1-56639-995-5. Kapitel I Shot Andy Warhol. Untertitel: “Originally published as ‘SCUM Like It Hot,’ the Village Voice (May 7, 1996)”; S. 48–50 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 48: “… Solanas’s outrageous SCUM Manifesto—pegged by its first publisher Maurice Girodias as a Swiftian satire on the depraved behavior, genetic inferiority, and ultimate disposability of the male gender.”
Elizabeth D. Hoover: She Shot Andy Warhol (Memento vom 8. Juni 2007 im Internet Archive). Rubrik American Heritage People. In: AmericanHeritage.com. History’s Homepage, 3. Juni 2006: “Girodias did publish the ‘SCUM Manifesto.’ (He apparently made up the fact that SCUM stood for ‘Society for Cutting Up Men.’ Solanas denied that was her acronym.)”
Stichwort Solanas, Valerie. In: Susan Ware, Stacy Lorraine Braukman (Hrsg.): Notable American Women: A Biographical Dictionary Completing the Twentieth Century. Radcliffe Institute for Advanced Study. Belknap Press, Cambridge, Massachusetts 2004, ISBN 0-674-01488-X, S. 602–603 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 603, linke Spalte: “When publisher Girodias claimed that SCUM was an acronym for Society for Cutting Up Men (something Solanas never seems to have intended), he reinforced the idea that the manifesto was part of a movement of man haters.”
Ginette Castro: American Feminism: A Contemporary History. New York University Press, New York, London 1990, ISBN 0-8147-1435-8 (Erstveröffentlichung: Radioscopie du féminisme américain. Presses de la Fondation Nationale des Sciences Politiques, Paris 1984; aus dem Französischen ins Englische übersetzt von Elizabeth Loverde-Bagwell). Teil 4, Kapitel Radical Feminism, S. 67–105 (eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 73–74: “If we examine the text more closely, we see that its analysis of patriarchal reality is a parody […] The content itself is unquestionably a parody of the Freudian theory of femininity, where the word woman is replaced by man […] All the cliches of Freudian psychoanalytical theory are here: the biological accident, the incomplete sex, ‘penis envy’ which has become ‘pussy envy’, and so forth […] Here we have a case of absurdity being used to as a literary device to expose an absurdity, that is, the absurd theory which has been used to give ‘scientific’ legitimacy to patriarchy […] What about her proposal that men should quite simply be eliminated, as a way of clearing the dead weight of misogyny and masculinity? This is the inevitable conclusion of the feminist pamphlet, in the same way that Jonathan Swift’s proposal that Irish children (as useless mouths) should be fed to the swine was the logical conclusion of his bitter satirical pamphlet protesting famine in Ireland. Neither of the two proposals is meant to be taken seriously, and each belongs to the realm of political fiction, or even science fiction, written in a desperate effort to arouse public consciousness.”
Laura Winkiel: The “Sweet Assassin” and the Performative Politics of SCUM Manifesto. In: Patricia Juliana Smith (Hrsg.): The Queer Sixties. Routledge, New York 1999, ISBN 0-415-92168-6, S. 62–85 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 68–69: “The SCUM Manifesto parodies the performance of patriarchal social order it refuses. It claims a universal authority to run the world on a seamless ‘we’ of SCUM women, but by the appropriation of universalizing discourse, the manifesto reveals how the universal is not universal at all. Solanas's imagined group of vanguard feminist revolutionaries proclaim their takeover of the world. Those particular women, who are only a subset of all women, mock the ‘serious’ way in which certain men actually do run the world. Those men naturalize their their universal authority through the guise of a purportedly democratic access to such power within the public sphere.”
James Penner: Pinks, Pansies, and Punks: The Rhetoric of Masculinity in American Literary Culture. Indiana University Press, Bloomington/Indiana 2011, ISBN 978-0-253-35547-8. Kapitel 5: The Gender Upheavals of the Late 1960s and Early 1970s: The Black Panthers, Gay Liberation, and Radical Feminism, S. 212–242 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 233: “As a work of satire, the ‘SCUM Manifesto’ is rhetorically effective in that it deconstructs the reader's received notions of masculinity and femininity.”
J. Hoberman: The Magic Hour: Film at Fin de Siècle. Temple University Press, Philadelphia 2003, ISBN 1-56639-995-5. Kapitel I Shot Andy Warhol. Untertitel: “Originally published as ‘SCUM Like It Hot,’ the Village Voice (May 7, 1996)”; S. 48–50 (englisch; eingeschränkte Vorschau in der Google-Buchsuche-USA), hier S. 48: “… Solanas’s outrageous SCUM Manifesto—pegged by its first publisher Maurice Girodias as a Swiftian satire on the depraved behavior, genetic inferiority, and ultimate disposability of the male gender.”
