First world feminist problems, some readers might say (probably, I suspect, those who were never little girls sent to parties in frilly while dresses and told sternly not to get themselves dirty).
Central is the notion of Eden, of original sin and feminist problems with this creation myth, but there's also the grindstone that Gainsbourg bolts to Dafoe's leg (far more painful than hanging it round his neck) and her statement that "nature is Satan's church".
And one can understand feminists' problem with her: a woman's right to enjoy sex with anybody may have been part of the feminist creed, but how was a woman to achieve this happy state of affairs without going out of her way (as recommended by Brown) to make herself attractive to men, which is not what feminists were supposed to do.
As a feminist, my problem with the mass-marketing of the pale, swooning female submissive tied up for the love of her man isn't that she exists, but that no other kind of "taboo" sexual women seem to.
Nina (Dee Dee Friedman), the group's still-radical feminist, has no problem believing the worst about Ross.
Elastic may well be a feminist issue; the problem, said Stacy London, a host of "What Not to Wear" on TLC and a style correspondent for the "Today Show" on NBC, is that women, especially busy mothers, are sacrificing dignity for comfort.
This is to use the canon as other movements have done as a resource, and as confirmation that a feminist perspective or problem is securely rooted in our philosophical culture.
The #MeToo movement highlights a common problem: Feminist movements are often whitewashed when they're brought into mainstream conversations.
It's in defining "feminist art" that problems arise; especially if Ms. Schapiro is asked how her iconoclastic, pioneering use of such traditional "womanly" arts as weaving, quilting and sewing to create her personal vocabulary fits in with the more strident strains of feminist art.
As one character says, old feminists are the problem, not men.
