Vagina & Vulva

Vagina (pronounced vuh-jahy-nuh)

(1) In anatomy & zoology, in many female mammals, the moist, tube-shaped canal part of the reproductive tract which runs from the cervix of the uterus through the vulva (technically between the labia minora) to the outside of the body.

(2) In botany, the sheath formed by the basal part of certain leaves where they embrace the stem.

(3) A sheath-like part or organ (now rare even in technical literature).

(4) In colloquial (and now general) use, the vulva, or the vulva and vaginal passage collectively.

(5) In derogatory colloquial use, an un-masculine man; a weakling (now rare, “pussy” the preferred modern term).

1675-1685: A creation of Medical Latin, a learned borrowing of the Latin vāgīna.  As used in anatomy, the seventeenth century coining was a specialized application of the Latin vāgīna (a sheath, scabbard; a covering, holder; sheath of an ear of grain, hull, husk) of uncertain origin, the suggestion by some etymologists it may have been cognate with the Lithuanian vožiu & vožti (to cover with a hollow thing) dismissed by others as “speculative” or even “gratuitous proposal”.  The use in medicine is exclusive to modern science, the Latin word not used thus during Antiquity.  Vagina is a noun, vaginal & vaginalike are adjectives, vaginally is an adverb; the noun plural is vaginas or vaginae (the old spelling vaginæ is effectively extinct); the part of the anatomy used for copulation & childbirth in female mammals and a similar organ exists in some invertebrates.

The vluva and vagina have for centuries attracted the coining of slang terms, not all of them derogatory.  Borrowed from zoology, "camel toe" directly references the vulva's labia majora. 

In idiomatic use “vaginamoney” is (often embittered) slang for alimony, child support etc, money paid by men to ex-partners after the sundering of a relationship.  One slang form which may not survive is "hairy check book" (cheque book outside the US) because (1) checks are declining in use and (2) body-hair fashions have changed.  In psychiatry, the condition vaginaphobic describes “a fear of or morbid aversion to vaginas) and vaginaphile (an admiration for vaginas) is listed by only some dictionaries which is surprising given authors are so often given to write about them and painters are drawn to painting them (in the sense of oil on canvas etc although there’s doubtless a niche for applying paint directly).  Dating from 1908, the term “vagina dentata” entered psychiatry and its popularization is usually attributed Austrian psychoanalyst Sigmund Freud (1856-1939) although this perception may be attributable to Freud’s works being better known and more widely read, the term used by many in the profession.  The Latin vagina dentata (toothed vagina) referenced the folk mythology in which a woman's vagina contained teeth, the implication being a consequence of sex might be emasculation or at least severe injury.  The tale was also used as a warning about having sex with unknown women and as a way of discouraging rape.  The vivid imagery of a vagina dentata (in somewhat abstract form) was used by the US military as a warning about the dangers of STIs (sexually transmitted infection (once known as sexually transmitted diseases (STD) & VD (venereal disease).  Some writers have speculated on what this revealed about Freud and his much discussed understanding of women.

Vulva (pronounced vuhl-vuh)

(1) The external female genitalia of female mammals (including the labia, mons veneris, clitoris and vaginal orifice.

(2) In helminthology, a protrusion on the side of a nematode (multivulva used to describe a phenotype of nematode characterized by multiple vulvas).

(3) In arachnology, the spermatheca and associated ducts of the female reproductive system (also known as internal epigyne or internal genitalia).

(4) An internal genital structure in female millipedes (known also as the cyphopod).

Late 1300s: A learned borrowing from the Latin vulva, from the earlier volva (womb, female sexual organ) (perhaps in the literal sense of a “wrapper”), from volvere (to turn, twist, roll, revolve (also “turn over in the mind”)), probably from volvō (to turn, to roll, to wrap around), from the primitive Indo-European root wel- (to turn, revolve), the derivatives referring to curved, enclosing objects.  In the 1970s, when Volvo automobiles weren’t noted for their precise handling, journalists enjoyed noted the translation of the Latin volvō as: “I roll”.   It was akin to the Sanskrit उल्ब (úlba) (womb).  The adjectives vulvalike (also vulva-like) & vulviform both describe objects or designs having the shape of a vulva.  Vulva is a noun, vulval, vulvaless, vulviform, vulvar, vulvate & vulvic are adjectives; the noun plural is vulvas, vulvae or vulvæ.

Ms Gillian Anderson’s “vagina dress”

Gillian Anderson, Golden Globes award ceremony 2024.

There’s nothing novel in the critical deconstruction of the dresses worn on red carpets but the one worn at the 2024 Golden Globe ceremony by actor Gillian Anderson (b 1968) also attracted the attention of word nerds.  Designed by Gabriela Hearst (b 1976), the strapless, ivory corset gown was embroidered with individually stitched embellishments in the shape of vulvas, each of which absorbed some 3½ hours of the embroider’s time.  In an allusion to her sexual wellness brand (G spot), when interviewed, Ms Anderson said she wore the piece: “…for so many reasons. It’s brand appropriate.”  The response in the press and on-line appeared to be (mostly) positive but what did attract criticism was the widespread use of “vagina” to describe the designs, a descriptor used even by Ms Anderson herself.  The more strident of the critics seemed to detect sexual politics in what they claimed was anatomical imprecision, the implication being this lack of respect for gynaecological terminology was casual misogyny; doubts were expressed that anyone would dare confuse a scrotum with the testicles.

Anatomical diagram (left) 1958 Edsel (centre) and the detail on Gabriela Hearst's gown (right).  Although Ms Anderson probably didn't give the 1958 Edsel a thought, it does illustrate why her use of "vagina" to describe the embroidered motifs is defensible.

The pedants are correct in that technically the “vulva” describes on the external portion of the genitalia that leads to the vagina; the vulva including the labia majora, labia minora, and clitoris.  The labia is also a complex structure which includes the labia majora (the thick, outer folds of skin protecting the vulva’s internal structure) and the labia minora (the thin, inner folds of skin directly above the vagina).  However, for almost a hundred years, the term “vagina” has widely been used to refer to the vulva and has come to function as a synecdoche for the entire female genitalia and so prevalent has the use become that even medical professionals use “vagina” thus unless great precision is required.  Still, given Ms Anderson’s brand is concerned with such matters, perhaps the historically correct use might have been better but the actor herself noted “…it has vaginas on it” so linguistically, her proprietorial rights should be acknowledged.

The Edsel, the grill and the myths

1958 Edsel Citation convertible.

Although it went down in industrial history as one of capitalism’s most expensive failures, objectively, Ford Motor Corporation’s Edsel really wasn’t a dramatically worse car than the company’s companion brands Ford & Mercury.  Indeed that was one of the reasons for the failure in the market; sharing platforms, engines, transmissions, suspension and some body parts with Fords & Mercurys, the thing simply lacked sufficient product differentiation.  That sharing of components (and assembly plants; Ford sending the Edsels down the existing production lines in the same factories) also makes it hard to believe the often quoted US$300 million (between US$2.5-3 billion expressed in 2024 values) Ford booked as a loss against the abortive venture as anything but an opportunity taken by the accountants to dump all the bad news in one go, certain taxation advantages also able to be gained with this approach. 

1959 Edsel Corsair two-door hardtop.

The very existence Edsel was owed to a system devised by Alfred P Sloan (1875–1966) while president of General Motors (GM).  Sloan is now mostly forgotten by all but students of industrial & economic history but he was instrumental in the development some of the concepts which underpinned the modern economy including frequent product changes (for no functional purpose), planned obsolescence and consumer credit.  What the Sloan system did was provide GM’s customers with a “status ladder” in which the company could produce a range of products (with substantial cross-amortization) at price points which encouraged them to “step up” to the next level as their disposable income increased.  At one point, GM’s brand-range had nine rungs but the Great Depression of the 1930s necessitated some pruning and what eventually emerged was a five rung system: Chevrolet, Pontiac, Oldsmobile, Buick & Cadillac.  In the 1950s, when the US economy enjoyed the unusual conjunction of rising incomes, stable prices and a remarkably (by both historic and contemporary standards) small disparity between the wealth of the rich and poor, this produced the swelling middle class which was the target market for most consumer products and certainly those on the Sloan ladder.  Ford had in 1938 added a rung when the Mercury brand was spliced between Ford and Lincoln but in the mid 1950s, the MBAs convinced the company the Sloan system was the key to GM’s lead in the market and they too re-structured the company’s products into five rungs: Ford, Mercury, Edsel, Lincoln & Continental.  Actually, in a harbinger, the loss-making Continental Division lasted barely a season, folded into Lincoln before the Edsel debuted for the 1958 model year but the MBAs kept the faith.

It turned out to be misplaced although in fairness to them, the circumstances in 1958 were unfortunate, a short but sharp recession shocking consumers who had become accustomed to growth and stability, believing that such unpleasantness belonged to the pre-war past.  The Edsel never recovered.  Although sales in 1958 were disappointing, given the state of the economy, it could have been worse but Ford’s market research (focus groups a thing even then) had identified problems and in response toned down the styling and moved the brand down-market, notionally to sit between Ford & Mercury, a gap which in retrospect didn’t exist.  Sales dropped that year by about a third and the writing was on the wall, although surprising many, a pared-down Edsel range was released for 1960 using Ford’s re-styled bodies but it seemed not many were fooled and fewer than 3000 left the factory before late in 1959 the end of the brand was announced.

1960 Edsel Ranger Sedan.

Really little more than a blinged-up Ford, the Edsel failed because for such a "hyped" product it was a disappointment and in that it can be compared to something like the administration of Barack Obama (b 1961; US president 2009-2017).  Barack Obama was not a bad president and he didn’t lead a bad government, indeed most objective analysts rate his term as “above average” but he disappointed because he promised so much, the soaring rhetoric (“highfalutin nonsense” as the press baron Lord Beaverbrook (1879-1964) would have put it) which offered hope and change never realized.  There was also the Elsel’s styling.  There was much clumsiness in the detailing (although the whole US industry was similarly afflicted in 1958) but the single most polarizing aspect was the vertical grill assembly, controversial not because it was a regression to something which had become unfashionable in the “longer, lower, wider” era but because of the shape which to some suggested a woman’s vulva.  Many said that (some preferring “vagina” or “genitalia”) though in those more polite times some publications were reluctant to use such language in print and preferred to suggest the grill resembled a “toilet seat” although that was (literally) a bit of a stretch (and Chrysler's Virgil Exner (1909–1973) was already applying them to trunk lids); more memorable was Time magazine’s “an Oldsmobile sucking a lemon”.

1958 Edsel (left) and 1958 Oldsmobile (right).  One can see why someone at Time magazine thought of "an Oldsmobile sucking a lemon".

1958 Edsel Bermuda “Woody” station wagon.  The “woody” nickname was applied to the station wagons from all manufacturers although after the early 1950s the “wood” was a combination of fibreglass and the DI-NOC plastic appliqué.  The look was intended to evoke the look of the partially timbered-bodied station wagons in production until the early 1950s (Chrysler in the 1960s even did a few convertibles recalling earlier models) and in the US the look lasted until the 1990s.  Ford’s attempt in the 1960s to tempt British & Australian buyers with the charms of DI-NOC proved unsuccessful.

As much as the sedans and convertibles, the Edsel station wagons were just as unwanted.  The Bermuda station wagon was offered only for the 1958 model year and it managed sales of only 2,235, 779 the nine-seater version with an additional row of seating in the rear section, a configuration which was always popular with US buyers in the era before mini-vans and SUVs.  The three-row Bermuda was the rarest of the 1958 Edsels but collectors still price them below the convertibles.  If the vulva-themed front end was confronting, there was a strangeness too at the rear, the turn-indicator lights in the shape of an arrow, a traditional symbol to indicate the intended direction of travel but bizarrely, the Edsel’s arrows pointed the opposite direction, something necessitated by the need to blend the shape with that of the body’s side moldings.

Video

Video (pronounced vid-ee-oh)

(1) A visual product (usually moving images), with or without audio, saved on some form of playable media.

(2) The visual element (film, television etc), as in a program or script, pertaining to the transmission or reception of the image (as distinct from audio).

(3) The visual component of any transmission.

(4) Of or relating to the electronic apparatus for producing the television pictures; of or relating to television, especially the visual elements.

(5) A clipping of video cassette or video cassette recorder (VCR).

1935: From the Latin video (I see), first person singular present indicative of vidēre (to see), on the model of “Audio”, thus the appended –o.  The adjective came into use in 1935 (as the visual equivalent of audio) while the noun in the sense of “that which is displayed on a television screen” dates from the early British Broadcasting Corporation (BBC) transmissions in 1937; the early form used by the technical staff was “video transmission” echoing “audio transmission” in radio.  The first known instance of “videogame” in print dates from 1973 although by then consumer products have been available for some eighteen months and it’s possible that among developers or users, the term had earlier been in use.  Whereas all audio (tapes, clips, grabs etc) contain exclusively sound, a quirk of video media is that most contain both visual and audio content; in practice, this cause no confusion because the conventions are well-understood.  Other conventions have also evolved.  Movie obviously has some overlap with video a some long-form commercial product (such as the typical feature film) would always be described as a “movie” or a “film” rather than a video bit if the same thing exists on tape or optical media, it will often be called a “video”, especially if on tape (videotape the generic term).  In an optical disc it’s more likely to be called a DVD, a product which in 1995 actually began life as the “Digital Video Disc” but was soon renamed “Digital Versatile Disc” because the eight-fold increase in capacity compared to the CD (Compact Disc) meant they were a convenient low-cost storage option in computing.  Even discs in the more recent Blu-Ray optical format appear often to be called “DVDs” at the consumer level, an indication Blu-Ray came too late to gain critical mass as the industry switched to streaming and weightless distribution to static libraries.  The videocassette (more often used as video + cassette) seems first to have been mentioned in patent application documents in 1970, the Videocassette recorder (VCR) first available at the consumer level in 1971.

Many of the futurists who predicted something like the internet got much right but few predicted the upload aspect of sites like YouTube and TikTok, the conjunction of a high percentage of the population enjoying both the possession of a video camera and access to bandwidth meaning that within years there were billions of content providors, many of whom found an audience.  Such videos are rarely called “movies” and are described variously with terms like “videos”, “clips”, “vids” or “shorts”.  Modifiers have been applied to “video” to created whatever meaning is needed including direct-to-video, full-motion video, home video, martyrdom video, video arcade, video camera, video clip, video conference, video game, video journalism, video nasty, videographer, video-jockey, videotape and videogram.  Video is a noun, verb & adjective, videoing & videoed are verbs; the noun plural is videos or videmus.  The plural videmus (the first-person plural form of the Latin verb) is rare and used usually for humorous effect.

Video meliora, proboque, deteriora sequor

The Latin phrase video meliora, proboque, deteriora sequor is from the Roman Poet Ovid’s (Publius Ovidius Naso; 43 BC–17 AD) Metamorphoses, appearing in a passage in which Medea acknowledges her obligations towards her father and her homeland but decides anyway to desert her people and run off with Jason.  Poets and others have since used the words to refer to those who know right from wrong and choose to do wrong, the purpose to illustrate either human weakness or immorality.  In English, the best known of the authors who cited the phrase are the worthy John Locke (1632–1704) and deliciously wicked Thomas Hobbes (1588–1679) and earlier, Saint Augustine of Hippo (354–430) couldn’t resist, noting “he sees what the rectitude of actions requires and he wants it and is unable to do it”, something on which he may have reflected when writing in Confessiones (Confessions (397-400)) of his prayer to God: “Oh, Master, make me chaste and celibate - but not yet!”

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

Video meliora, proboque, deteriora sequor appears in The Wise Virgins, the second novel published by Leonard Woolf (1880–1969) and a work which until re-published a decade after his death was neglected and tended to be assessed only as the catalyst for what proved the worst of the breakdowns suffered by his wife, the novelist Virginia Woolf (née Stephen; 1882–1941).  The book was released two years after their marriage and the first drafts had been begun during the honeymoon in Spain; something which over the year has drawn the odd wry comment.  The autobiographical elements were undisguised, the subjects the two newly-wed protagonists and a supporting cast drawn from the Bloomsbury set and although for decades dismissed, it’s regarded now as an engaging satire of the last days of the pre-1914 world of English society.  For the modern reader, it’s a compelling tragedy, a tale of someone who attempts to escape society’s conventions but through his own weakness of character finds himself trapped in that very world.

Leonard and Virginia Woolf, a photographic postcard, Dalingridge Place, West Hoathly, Sussex, 23 July 1912.

Commercially, The Wise Virgins was a failure and Leonard Woolf took the opportunity to blame the unfortunate timing of publication: “The war killed it dead” he recorded in his autobiography, not bothering to list the work in the index.  There’s long been the idea he wasn’t unhappy to see it buried; Virginia Woolf read The Wise Virgins three months after publication and although with the bloodless austerity of a don she noted in her diary that the work was “very good in some ways and very bad in others”, within a fortnight she descended into what would prove the worst of her many breakdowns and the only one, feminist critics like to mention, during which she rejected her husband, refusing for some two months to see him.  Virginia Woolf's own works, including her two fictional portraits based on him are more sympathetic to his memory, his character in The Wise Virgins perhaps a portrait of what he imagined he might have been had he not repressed his worse impulses and certainly, Leonard Woolf’s reputation has not suffered like that of Ted Hughes (1930–1998; Poet Laureate 1984-2008) after the suicide of his wife Sylvia Path (1932-1963).  As with many a roman-à-clef, one must always be conscious that much is fiction but it’s a tale of the fate of another flawed man and the quote from Ovid is not misplaced.

Flibbertigibbet

Flibbertigibbet (pronounced flib-er-tee-jib-it)

(1) A chattering or flighty, light-headed person.

(2) Someone who gossips (archaic)

(3) An imp; a fiend or goblin (archaic).

1440-1450: From the late Middle English flepergebet or flipergebet; a reduplicative compound of obscure origin thought almost certainly imitative of idle chatter and as a "nonsense word" meant to sound like fast talking, it was long applied only to women.  As the name of a devil or fiend it dates from circa 1600 (along with Frateretto, Hoberdidance & Tocobatto) and until the eighteenth century, more than a dozen alternative spellings existed although most were doubtlessly mere mistakes.  Although no etymologists appear to support the noting it might be an alternative source, many note the alteration of flibbergib (toady, sycophant) which could have been from the Old Norse fleipra-geipa(re) (babbler of nonsense). The construct of the wholly hypothetical Old Norse term would have been fleipra (a variant of fleipa (to babble, tattle)) + geipa (to talk nonsense, to boast) or geipare (one who speaks nonsense, a braggart).  Fleipa was the source of the "flip-" element in the English flippant; the original meaning of flibbergib was “chatterer”.  The alternative spelling is flibberty-gibbet.  Flibbertigibbet is a noun and flibbertigibbety & flibbertigibbish are (potentially useful) adjectives; the noun plural is flibbertigibbets.  There's no record of an adverb.

Shakespeare, language and respectability

All etymologists list flibbertigibbet as a pseudo-compound.  A compound is a word or word group made up from two or more parts that work together as a unit to express a specific concept whereas a pseudo-compound is a word which merely looks like it is a compound but, even if built from real words, the final meaning bears no relationship to the components.  Flibbertigibbet is simply an imitation of meaningless or babbling speech and it’s had many different spellings over the centuries, the Oxford English Dictionary (OED) listing fifteen, noting fibbergib is likely the original.  An overarching influence in the meaning was the patriarchy; although structurally gender-neutral, it was for centuries an exclusively feminine form, the linguistic paradigm apparently unable to conceive that boys and men could be flighty, scatter-brained chatterers.  The earliest known use dates from around 1450 as fleper-gebet and, about a century later, it was a respectable enough term for Bishop Hugh Latimer (circa 1487–1555) to use it in a sermon delivered before Edward VI (1537–1553; King of England and Ireland 1547-1553), though he wrote it as flybbergybe.

David Garrick (1717–1779) in the character of King Lear (Shakespeare, King Lear, Act III, Scene 1).  An engraving (1761) by James McArdell (1729–1765) following Benjamin Wilson (1721–1788), Metropolitan Museum of Art, New York.

It was the influence of William Shakespeare (1564–1616) which standardized the current spelling as flibbertigibbet, if not the meaning.  In King Lear (circa 1605) it’s the name of one of five fiends possessing Edgar and in this sense was used also to describe Puck, the mischievous fairy in A Midsummer Night’s Dream (circa 1595).  Sir Walter Scott (1771–1832) would later use Flibbertigibbet as the name of an impetuous urchin child in his novel Kenilworth (1821).  As a device, flibbertigibbet was said to be "imitative of meaningless or babbling speech" but when technology made audio recording possible, sound engineers found the word "rhubarb" repeated in rapid sequence by as few as four people with different voice tones almost exactly replicated background conversation and it was possible to create the illusion of a handful of people or dozens just by adjusting the volume.

A most respectable actor: Lindsay Lohan on stage in Speed-the-Plow (1998) by David Mamet (b 1947), London, October 2014.  Actors today owe a debt to David Garrick because he was the one who made being a thespian something respectable.

Shakespeare's influence on language, the stage and the structure of performance is well known but some of those who built or enhanced their reputations performing or interpreting his work also left their mark.  Although Garrick's work as a playwright has never been highly regarded, as a producer and theatre manager it was his innovations which transformed theatre in both England, Europe and ultimately North America.  It was Garrick who more than any other who was responsible for making a career on the stage, if not entirely respectable in the eyes of "the better classes", at least no longer disreputable.  In something which would have been remarkable only a generation or two earlier, his funeral was conducted at Westminster Abbey and he was buried in Poets' Corner.  London's (still exclusively male) Garrick Club is named after him and it retains a membership which includes many theatrical types.

Feminism

Feminism (pronounced fem-uh-niz-uhm)

(1) A doctrine advocating social, political, and all other rights of women equal to those of men.

(2) In both its structured and ad hoc forms, a movement for the attainment of such rights for women (sometimes used with initial capital letter).

(3) Feminine character (obsolete except for historic references).

1851: From the French féminisme, ultimately from the Classical Latin fēminīnus, the construct being the Latin fēmina (woman) + ism.  The first known use in French dates from 1837.  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  It seems first to have been used in in English in 1851, originally as a neutral term meaning "the state of being feminine".  The sense of "advocacy of women's rights" began in 1895 ("political feminism" often traced from here although given the history that is misleading) and the word came soon to be used as a "loaded" descriptor of the female character, a kind of informal measure of the patriarchal view of femininity, often in criticism of artistic performance or literature.

Feminism & feminist are nouns, feministic is an adjective and feministically is an adverb; the most common noun plural is feminists but given the proliferation of terms created with modifiers, feminisms are often referenced even if the word is not used.  So productive has the word feminism proved that there are literally more than a hundred derived forms including the:  geographical (Afro-feminism; Euro-feminism), political (anarcho-feministic, radical feminism), humorous (femocrat; femnazi), structural (post-feminism; lipstick feminism; postmodern feminism) and contested (male-feminism; trans-feminism).       

Waves

The notion of feminism being not a fixed manifesto but a process in incremental waves is from a 1968 piece in the New York Times Magazine by writer Martha Lear (b 1932).  The context was to note the appearance a decade earlier of second-wave feminism, focusing now on unofficial inequalities, unlike the first wave which was essentially structuralist.  While lineal, there’s overlap between the waves and, in both popular culture and academia, some resistance to change.  Whatever it’s other implications, feminism needs to be considered a political construct and it operates, a does politics, through cross-cutting cleavages; in the same way the formation of the G8 (the Group of 8, an assembly of advanced industrial economies created when Russia was added to the G7) didn’t mean the G7 ceased to exist, the successive waves in feminism both absorbed and operated in parallel with earlier waves.

First-wave feminism (1895-1950s): In this “de jure” period, focus was on legal issues such as women's suffrage, property rights and political candidacy.

Second-wave feminism (1960s-1980s): Even before equality in legal rights was wholly achieved, the movement broadened the debate to include sexuality, family, the workplace, reproductive rights and other de facto inequalities. Attention to first-wave issues focused on child custody and divorce law.

Third-wave feminism (1990-2000s): Although there were cultural links, the intellectual origins of 3WF lie in an article by feminist Rebecca Walker in 1992 and although never exactly defined, it was said to emphasis an interest in individualism and diversity.  Controversial even at the time, with strains of libertarianism now competing with the historic collectivist model, it sought to change the parameters of feminism.

Fourth-wave feminism (circa 2010-):  Regarded as a least partially technologically deterministic, 4WF is thought to have emerged circa 2008-2012 as social media gained critical mass.  It focuses on intersectionality and examines the interconnected systems of power that maintain the marginalized of certain groups in society.  4WF advocates for greater representation of these groups in all places within the power-elite, arguing equality for women will become possible only if policies and practices incorporate all groups.  Some have suggested the need for a 5WF but no coherent work has been published.

Fourth wave feminist: Lindsay Lohan images from a photoshoot by Terry Richardson (b 1965) for Love Magazine, 2012.

Scum

Scum (pronounced skuhm)

(1) A film or layer of foul or extraneous matter that forms on the surface of a liquid as a result of natural processes such as the greenish film of algae and similar vegetation on the surface of a stagnant pond

(2) A layer of impure matter that forms on the surface of a liquid as the result of boiling or fermentation

(3) A low, worthless, or evil person.

(4) Such persons collectively.

(5) An alternative name for scoria, the slag or dross that remains after the smelting of metal from an ore.

1200–1250: From the Middle English scume, derived from the Middle Dutch schūme (foam, froth) cognate with German schaum, ultimately of Germanic origin, drawn from the Old High German scūm and Old French escume.  In Old Norse word was skum, thought derived from the primitive root (s)keu (to cover, conceal).  By the early fourteen century, the word scummer (shallow ladle for removing scum) had emerged in Middle Dutch, a borrowing from the Proto-Germanic skuma, the sense deteriorated from "thin layer atop liquid" to "film of dirt," then just "dirt" and from this use is derived the modern skim.  The meaning "lowest class of humanity" is from the 1580s; the familiar phrase “scum of the earth” from 1712.  In modern use, the English is scum, French écume, Spanish escuma, Italian schiuma and Dutch schuim.  Scum is a noun & verb and scumlike & scummy are adjectives; the noun plural is scums.

The Society for Cutting Up Men: The S.C.U.M. Manifesto

S.C.U.M.  Manifesto (1968 Edition).

Although celebrated in popular culture as the summer of love, not everyone shared the hippie vibe in 1967.  The S.C.U.M. Manifesto was a radical feminist position paper by Valerie Solanas (1936-1988), self-published in 1967 with a commercial print-run a year later.  Although lacking robust theoretical underpinnings and criticized widely within the movement, it remains feminism’s purest and most uncompromising work, an enduring landmark in the history of anarchist publishing.  In the abstract, S.C.U.M. suggested little more than the parlous state of the word being the fault of men, it was the task of women to repair the damage and this could be undertaken only if men were exterminated from the planet.  The internal logic was perfect. 

The use of S.C.U.M. as an acronym for Society for Cutting Up Men existed in printed form from 1967 (though not in the manifesto’s text) although Solanas later denied the connection, adding that S.C.U.M. never existed as an organization and was just “…a literary device”.  The latter does appear true, S.C.U.M. never having a structure or membership, operating more as Solanas’ catchy marketing label for her views.  Calling it a literary device might seem pretentious but, given her world-view, descending to the mercantile would have felt grubby.  That said, when selling the original manifesto, women were charged US$1, men US$2.

While perhaps not as elegant an opening passage as a Jean-Jacques Rousseau (1712–1778) might have penned, Solanas’ words were certainly succinct.  "Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex.”  Ominously, “If S.C.U.M. ever strikes” she added, “it will be in the dark with a six-inch blade.”  No ambiguity there, men would know what to expect.

On set, 1967, Andy Warhol (1928-1987) & Nico (1938-1988).

Author and work were still little-known outside anarchist circles when in 1968 Solanas attempted to murder Andy Warhol, firing three shots, one finding the target.  Despite her comments in the aftermath linking the manifesto to the shooting, her motive was a dispute between the two over copyright and money rather than anything political or artistic.  In hospital for months, Warhol never fully recovered; Solanas, although found to be a paranoid schizophrenic, was judged fit to stand trial and served three years for "reckless assault with intent to harm".  Warhol died in 1987, Solanas a few months later.  Her fame lasted beyond fifteen minutes and in certain feminist and anarchist circles she remains a cult figure although, it takes some intellectual gymnastics to trace a lineal path from her manifesto to the work of even the more radical of the later-wave feminists such as Andrea Dworkin (1946-2005), Susan Brownmiller (b 1935) and Catharine MacKinnon (b 1946).

Rendezvous: David Low's (1891-1963) famous take on the 1939 Ribbentrop-Molotov (Nazi-Soviet) Pact.  Although Low at the time couldn't have known it, comrade Stalin (1878-1953; Soviet leader 1924-1953) was sensitive to public opinion and when presented with the draft text of the pact, decided the rather flowery preamble extoling German-Soviet friendship was just too absurd, telling the visiting delegation that "...after years of pouring buckets of shit over each-other...", it'd be more convincing were the document to be as formal as possible. 

Slut

Slut (pronounced sluht)

(1) A woman of loose virtue; one who seeks sexual partners to an extent thought wantonly excessive (vulgar and usually derogatory).

(2) By extension, a prostitute (now rare, presumably because as it came to be applied more widely, such use began to lack precision.

(3) By extension, someone who seeks attention through inappropriate means or to an excessive degree (vulgar, figuratively and usually derogatory) . 

(4) By analogy, a person with seemingly undiscriminating desires for or interests in something (coffee-slut, chocolate-slut etc).

(5) A kitchen maid or servant (obsolete).

(6) An slovenly, untidy person (historically usually applied to women and now rare).

(7) A bold, outspoken woman (always derogatory and now obsolete). 

(8) A female dog (obsolete, bitch the replacement although that's now sometimes avoided because of the way it's used offensively against women). 

(9) A rag soaked in a flammable substance and lit for illumination, tied or mounted usually to a long handle (obsolete).

Circa 1400: From the late Middle English slutte (a dirty, slovenly, careless, or untidy woman) which may be either derived from or related to "sloth" and the first known use in print was in the medieval "Coventry Mystery Plays"; the Oxford English Dictionary (OED) lists it as "of doubtful origin" and though paired alliteratively with sloven (which also first appears there) both suggestive of "lewd, lascivious woman", this remains uncertain.  It’s thought likely cognate with the dialectal German Schlutt (slovenly woman), dialectal Swedish slata (idle woman) and Dutch slodde or slodder (a careless man) but the exact relationship of all these is obscure.  In dialectical Norwegian, there was slut (mud) and slutr sleet (dirty liquid) in which meaning, like future adoptions, tended to the impure.  It’s thought related also the Middle Dutch slore, the Modern Dutch slomp and the German schlampe, the latter enjoying some popularity in the English-speaking world.  Etymologists have also suggested the possibility of a link with the Old English (West Saxon) sliet & slyt, (sleet, slush) which may be compared to the Norwegian dialectal slutr (snow mixed with rain), the connection being the sense of "the impure or dirty".  Slut is a noun & verb; sluttish, slutty, sluttier & sluttiest are adjectives, sluttishness & sluttiness are nouns, the noun plural is sluts.

Another of those English words with meanings changing over centuries, in 1402 slut meant roughly what one sense of slattern means today: a slovenly, untidy woman or girl.  It also meant kitchen maid although Geoffrey Chaucer (circa 1344-1400) used sluttish to describe both them and the appearance of an untidy man but as early as the end of the fifteenth century the sense had emerged as a woman of loose virtue, though not (yet) a prostitute although in the 1660s there are examples of the use of the word to refer to "playful young women" without any suggestion of a sexual overtone.  By the mid-fifteenth century, slut had come to be used of "kitchen & scullery maids" and from this the meaning was transferred to the labors: as late as the eighteenth century the hard pieces of imperfectly kneaded dough were called slut's pennies and dust left to gather on a floor was slut's wool.  The meanings ran in parallel until the nineteenth century; Samuel Johnson (1709-1784) thought the main use of the word was to suggest untidiness and a Samuel Pepys' (1633–1703) diary note in 1664 uses it as a term of endearment to commend the cheerful efficiency of one of his kitchen maids.  By the late twentieth century, the modern meaning had subsumed all others and was applied almost always pejoratively.  However, there were some in the late 1990s who adopted slut in the names of websites with content broader than the more specialised in the genre, an example of which was the now sadly defunct literary discussion and book-review site, bookslut.com, edited by feminist critic and author Jessa Crispin (b 1978).  A newer site, https://www.thebookslut.com now exists, seeming to function as an all-purpose clearing house for all things literary.

Before the advent of modern science gave rise to the extraordinary proliferation of technical terms, probably no purpose in English was so productive in the manufacture of words than the need to insult or disparage women and as an element, "slut" did its bit to contribute.  Although there are no rules which dictate exact use, there are dirty sluts, total sluts, pub sluts, slum sluts, ugly sluts, supersluts and slutbags.  Those thought sluts form part of the sluthood and exist in a state of slutdom; if one sleeps with one on a casual basis, one has had a slut stand and when observing her among the others in a slutfest, one might have noticed her was styled in slutstrands (two strands of hair (left & right) pulled down around the face with the rest pulled back.  Surprisingly, although sluts wear certain sorts of shoes, they're described not a slut-shoes but as "fuck-me shoes" (which isn't too literal because "fuck-me shoes" can be boots).  Among adjectives, the common form is slutty, the comparative sluttier & the superlative sluttiest but the simpler form is simply that one slut "out-sluts" another; a judgment inherently subjective.  The male slut was often a term of (sometimes grudging) admiration and referred to a promiscuous man who could sometimes be said to be a slut-maker.  A job slut was someone who often switched occupations and that could be used either neutrally or in a derogatory sense although in politics, the term "political prostitute" became popular and "political slut" did not, presumably because the intended implication was that the switching of allegiances was venal.  As a self descriptor without a sexual connotation it was once widely used but has become less popular because of feminist criticism (which must be why there were Facebook sluts but not TikTok sluts although the latter may be applied in a different context).  Once, there were press sluts (also known as media tarts in the digital age), coffee-sluts, beer sluts, chocolate-sluts, party sluts and book sluts, the terms all indicating an indiscriminate consumption of or addition to whatever was referenced.  To confuse English speakers, in Swedish, a slutstation is not what people variously may imagine but a part of public transport infrastructure meaning a terminus (the end-station at which a service terminates); figuratively it's used to mean "a final destination".  English visitors, returning home from Sweden have been known to nickname nightclubs with a certain reputation "slutstations".

Slutwalk, Toronto, Canada, April 2011. 

In the twenty-first century, feminists sought to claim the word and began a campaign socially to construct slut-shaming as an unacceptable form of bullying or discrimination.  Just as overtly political have been the slut-walks, the first of which was held in Toronto, Canada in April 2011 in reaction to comments by a police officer suggesting women were at least partially complicit in sexual assault by dressing in certain ways and that in their own interest, they should “…avoid dressing like sluts".

The police hastened to issue a flurry of apologies but that was perceived as crisis management rather than any indication of cultural change and the slut-walk soon followed, since repeated in many cities world-wide, sometimes as regular events.  Despite that, expressions of “victim blaming” continue to be issued by figures of authority.  A stated aim at the time was to redefine "slut" to describe someone in control of their own sexuality, to rid the word of any negative connotations.  That seemed linguistically ambitious but, although there are in English words which over time have come to mean the exact opposite of what they once did, it’s wrong to describe this as part of the “reclaim the word” movement.  It’s more of an attempt at re-appropriation like the successful campaign which gained “gay” its new exclusivity.  From within feminism came a critique which thought the word slut a distraction, something which attracted too much of the news media’s focus at the expense of the substantive issues: (1) a right to choose one’s clothing without fear of harassment, (2) the right to inhabit public space on the same basis as men and (3) that consent to sexual activity must always be explicit and can never be deemed to be implied on the basis of clothing or other signal.  This view suggested the issue was not the right to self-label as a slut but the right for women actually safely to exist in a time and place on the basis of their choice.

The RHS

The cocktails called the Red-Headed Slut (RHS) or the Ginger Bitch are identical.  Although variations exist, the original is served on the rocks, poured over ice, either in a old fashioned (rocks) glass or a highball.  Quantities of ingredients can vary but the alcohol components should always be equal.

Ingredients

(1) One part Jägermeister
(2) One part peach schnapps
(3) Cranberry juice

Instructions

Combine Jägermeister and schnapps in glass full of cubed or crushed ice. Add cranberry juice to fill glass. Stir as preferred.

It may be served as a shooter, chilled and shaken but without ice.   One popular derivative includes equal parts Jägermeister, Schnapps, Crown Royal, and cranberry-flavored vodka.  Some substitute Chambord for the cranberry juice, and sometimes Southern Comfort for the schnapps.  For a sweeter taste, apricot brandy can be used instead of schnapps and best of all, there’s the Angry Red-Headed Slut which adds rum (over-proof or two shots to increase the degree of anger).

Lindsay Lohan enjoying an eponymous: Surely an affectionate homage, the Lindsay Lohan is a variation, the Lohanic version taking a classic RHS and adding a dash of Coca-Cola (usually expressed as "coke").  It should be served in a highball or other tall glass.

Sapphism

Sapphism (pronounced saf-iz-uhm)

A less frequently used word for lesbianism; often in poetic or literary use.

1885-1890: Named after Sappho (Ψάπφω Psáppho in the Aeolic Greek) (circa 630-570 BC), a poet of the isle of Lesbos, the construct being Sapph(o) + -ism.  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  Sapphism & sapphist are nouns and sapphic is a noun & adjective; the noun plural is sapphists.  Sapphistry is a quasi-jocular literary term meaning "a seductive style said to be associated with women writing for a female audience" and presumably modelled on "sophistry".  Sapphistry is said to differ from "chick-lit" (an often derogatory (or at least dismissive) term describing literature aimed at younger women which focuses on the dilemmas of post second-wave feminism romance) in that it contains at least hints of the lesbionic.

Sappho

Remembered for her lyric poetry, Sappho lived on the Greek island of Lesbos, from which is derived the word lesbian, the meaning of which has shifted over time.  Prior to the late nineteenth century, it was used to describe things of or relating to the island, including a local wine.  First extended by poets and critics in the 1870s to allude to erotic relationships between women, it entered medical literature in the 1890s, gradually supplanting sapphist and sapphism and become the standard descriptor early in the twentieth century.

American Sapphic, Lindsay Lohan & former special friend Samantha Ronson by Ben Tegel after American Gothic (1930) by Grant Wood (1891-1942).

Sappho is known to written thousands of lines, but for the complete Ode to Aphrodite, only fragments survive, some discovered as recently as 2014.  The poetry has been influential for two millennia, during which it has been read by critics searching for hints of Sappho’s own sexuality, their judgements colored often by the social mores prevailing at the time.  Surviving mostly in fragmentary pieces, Sappho's text is often a challenge for translators who face having to render verse into English when it can't be certain what a word in the original actually meant, one smudged letter shifting a meaning or disguising whether it be verb or noun.  Translators' notes are thus helpful.

Sappho And Erinna In A Garden At Mytilene, (1864) by Simeon Solomon (1840-1905) watercolour on paper, Tate Britain.

Ode to Aphrodite by Sappho

Aphrodite, subtle of soul and deathless,

Daughter of God, weaver of wiles, I pray thee

Neither with care, dread Mistress, nor with anguish,

            Slay thou my spirit!

But in pity hasten, come now if ever

From afar of old when my voice implored thee,

Thou hast deigned to listen, leaving the golden

            House of thy father

With thy chariot yoked; and with doves that drew thee,

Fair and fleet around the dark earth from heaven,

Dipping vibrant wings down he azure distance,

            Through the mid-ether;

Very swift they came; and thou, gracious Vision,

Leaned with face that smiled in immortal beauty,

Leaned to me and asked, "What misfortune threatened?

            Why I had called thee?"

"What my frenzied heart craved in utter yearning,

Whom its wild desire would persuade to passion?

What disdainful charms, madly worshipped, slight thee?

            Who wrongs thee, Sappho?"

"She that fain would fly, she shall quickly follow,

She that now rejects, yet with gifts shall woo thee,

She that heeds thee not, soon shall love to madness,

            Love thee, the loth one!"

Come to me now thus, Goddess, and release me

From distress and pain; and all my distracted

Heart would seek, do thou, once again fulfilling,

            Still be my ally!