ABSTRACT During feminism's second wave (circa 1960‒1980) a particular approach to time gained ground and was explored by many cultural feminist activists, thinkers and writers. This feminine time was conceived of as cyclical and organic rather than masculine, mechanistic and linear and developed out of the essentialist celebration of “Woman” that dominated cultural feminism during this period. These cultural feminists called for an embracing of “women's time” which, they argued, would liberate women whose identities had been limited by the expectations of a patriarchal Western world and the patrilinear temporality it prescribed. Although their terms are considered problematically essentialist today, this remains an interesting moment in both feminist history and debates regarding temporality. This paper discusses fantasy author and feminist, Tanith Lee's evocation and exploration of second wave cultural feminism's “women's time” in her 1976 novella The Winter Players. In this novella Lee's protagonist is doomed to repeat a static, limited role for all time and in order to break free, steps into an alternative cyclical women's time that undoes the authority of the paternalistic his-story that traps her. Once in this temporal space, she draws on both her own magical power and that of a female continuum of priestesses to reweave patrilinear time, in so doing empowering the women of her world to claim their right to public space/ time.

中文翻译：

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在她的骨头里：Tanith Lee 的《冬季球员》中的第二波“女性时代”

摘要在女权主义的第二次浪潮（大约 1960-1980 年）期间，一种特殊的时间方法得到了发展，并被许多文化女权主义活动家、思想家和作家所探索。这个女性时代被认为是周期性的和有机的，而不是男性化的、机械的和线性的，并且是从这一时期主导文化女权主义的对“女人”的本质主义庆祝发展而来的。这些文化女权主义者呼吁拥抱“女性时代”，她们认为，这将解放那些身份受到西方父权制世界的期望及其规定的父系时间限制的女性。尽管他们的术语在今天被认为是有问题的本质主义，但这在女权主义历史和关于时间性的辩论中仍然是一个有趣的时刻。本文讨论了幻想作家和女权主义者塔妮丝·李 (Tanith Lee) 在 1976 年的中篇小说《冬天的球员》中对第二波文化女权主义“女性时代”的唤起和探索。在这部中篇小说中，李的主人公注定要永远重复一个静态的、有限的角色，为了挣脱，进入另一种周期性的女性时代，解除束缚她的家长式故事的权威。一旦进入这个时间空间，她就会利用自己的魔力和女祭司的魔力来重新编织父系时间，从而赋予她世界中的女性权利，要求她们拥有公共空间/时间的权利。主人公注定要永远重复一个静态的、有限的角色，为了挣脱，进入另一种周期性的女性时代，解除束缚她的家长式故事的权威。一旦进入这个时间空间，她就会利用自己的魔力和女祭司的魔力来重新编织父系时间，从而赋予她世界中的女性权利，要求她们拥有公共空间/时间的权利。主人公注定要永远重复一个静态的、有限的角色，为了挣脱，进入另一种周期性的女性时代，解除束缚她的家长式故事的权威。一旦进入这个时间空间，她就会利用自己的魔力和女祭司的魔力来重新编织父系时间，从而赋予她世界中的女性权利，要求她们拥有公共空间/时间的权利。