Game of Thrones,Rape Culture and Feminist Fandom

Throughout its run, HBO's adaptation of George RR Martin's A Song of Ice and Fire book series, retitled Game of Thrones (GoT), has attracted controversy for its depiction of nudity and graphic sex and violence. But a particular recent scene, in which a brother rapes his sister, caused outrage in media and fan commentary. This article considers the scene in question, and feminist responses to it, in the context of wider cultural debates about rape culture and the media representation of sexual violence. Following Sarah Projansky's argument that rape is a ‘particularly versatile narrative element’ that ‘often addresses any number of social themes and issues’, I read GoT and its online fan responses alongside literary theories of the fantastic, to examine how dominant rape culture discourses are both reproduced and challenged in fan communities. In particular I argue that fan narratives both reproduce discourses of masculinity and futurity that contribute to rape culture, but also provide a potential space for change through speaking out about silenced experiences of trauma.     

“Object Lesson(s)”

This article reconstructs up an impromptu dance performed by Lavinia Baker, a survivor of mob violence and star of an anti-lynching performance revue, and reads it as the occasion for rethinking the performative dimensions of a seemingly familiar spectacle: lynching. As opposed to the familiar scene of the black corpse captured and circulated in photographs, the author argues that Lavinia's 1899 dance and the liveness of her performance – that is, its excess, disruptions, and improvisation – is instantiation of racial violence that strains against the putative framing of mob violence as a finite event that is amenable to documentation, capture, or narrativization. By pivoting a discussion of lynching on Lavinia Baker’s protean performance, this essay not only challenges the shape and structure of nineteenth-century anti-black terror, but also demands that we (re) turn to a deceptively simple question that animates Scenes of Subjection: what does racial violence look like?     

Listening to color: a set of propositions on pain as feminist aesthetic

This performative text asks whether it is possible to imagine an antisocial feminist aesthetic that does not invoke the wounded body. Its form – numbered propositions that engage with critical theory, literature, and memoir – riffs on that of Maggie Nelson’s Bluets, a key interlocutor for this question of aestheticizing embodied pain. How does Nelson’s genealogy of blue model a methodology for a “queer genealogy of femininity,” to borrow Jack Halberstam’s term? How does looking at color in this way offer an approach to narrating trauma, one that displaces the primacy of the visual? Turning to the work of Christina Crosby, Toni Morrison, Fred Moten, and José Esteban Muñoz, as well as drawing upon the author’s experience as a volunteer for a peer listening hotline, this essay considers the implications of “listening to color” for minoritarian knowledge formations and feminist praxis.     

‘The Rape Joke’: censorship,affective activisms,and feeling subjects

Abstract

This paper follows the affective impact of a story on rape culture in a school magazine in a US high school. Immediately following its publication, the school administrative enacted a policy of prior review on all future publications. The event made waves in US national news and online media and was denounced as an act of censorship and infringement on students’ freedom of expression. In concert with other students and faculty at the school, the author of the piece engaged in various forms of protest and on- and off-line activism. This piece tracks the multiple political affects and effects activated by the article through a notion of affectivisms. This case study further explores notions of ‘positive’ school climate and the increasingly imbricated textures of schooling experiences with online media.     

Primum Mobile: Women and Auto/mobility in the Era of the Great War

Abstract: This article explores the construction of Andrea Dworkin as a public persona, or a ‘feminist icon’, revered by some and demonized by others. It argues that in both her fiction and non-fiction, Dworkin engaged in a process of writing herself as an exceptional woman, a ‘feminist militant’ as she describes herself in the subheading of her 2002 memoir, Heartbreak. The article illustrates Dworkin's autobiographical logic of exceptionalism by comparing the story told in Heartbreak to the story of Dworkin's major novel, Mercy, which features a heroine, Andrea, who shares Dworkin's name and significant biographical details. While Dworkin has insisted that Mercy is not an autobiographical novel, the author undertakes a reading here of Mercy as the story of Dworkin if she had not become the feminist icon of her own and others' construction. In Mercy, Andrea unsuccessfully attempts to escape the silent, victimized status that Dworkin has insistently argued is imposed upon women. In her repeated victimization, Andrea functions for Dworkin as an ‘everywoman’ who both embodies Dworkin's world-view and highlights how Dworkin's own biography exists in tension with some of her central assumptions about women, gender and contemporary society.     

The man who envied women

Boredom is a permeating, trespassing force – an intensity not necessarily recognized as such. This essay approaches the aesthetics of political failure, and in particular, the cinematic intensities of boredom as affective expressions of post-traumatic malaise. Lou Ye’s Summer Palace (2006), one of only three Chinese narrative films to represent the 1989 Tiananmen Incident, draws upon an aesthetics of banality to dramatize the epistemological limits and resultant trauma of 6/4, a historical event subsequently repressed in mainland Chinese media. Refusing melodramatic catharsis, the film’s stalling and stupefying effects perform both the amnesiac circumstances surrounding 6/4, as well as the compassion fatigue that followed. Even more surprisingly, Lou’s overuse of sex, a dull instrument by the film’s end, constitutes Summer Palace’s privileged sight/site of boredom. Indeed, sex, rather than constituting the censored obscene act, stands in for something far more offensive. Summer Palace frenetically pivots around an open secret, the historical memory of Tiananmen, as nervous sensation is composed within and without the text, centering on women’s bodies. Drawing on close textual analyses, this essay contends that the excessive contours and shapes of the memorial wound in Summer Palace take on the particularly anxious forms of dull sex in a messy Square.     

‘Throbb[ing] with a consciousness of a knowledge that appalled her’: Embodiment and Female Subjectivity in the Desert Romance

This article examines the relationship between the desert and embodiment in E. M. Hull’s international best-seller The Sheik (1919). This novel, a desert romance, has been the focus of feminist scholarship for decades because of its controversial rape narrative. Drawing on theories of embodiment, in particular the work of Elizabeth Grosz, the author interrogates how the desert is paradoxically presented as a space of liberation and oppression within which female sexuality could be explored despite the gendered violence of pre-existing patriarchal frameworks. Ultimately, the author provides a reading of Diana in terms of her transition from an androgynous ‘girl’ to a sexually desiring, seemingly feminized ‘woman’, and examines the connotations associated with this. The author establishes a connection between the transient nature of the desert and the liberation offered to women within this liminal space. Through an in-depth examination of the protagonist Diana’s corporeal subjectivity over the course of the novel, the author positions The Sheik as offering a voice to female sexuality and erotic fantasy, demonstrating Hull’s depiction of the desert as an appropriation of that space through which to explore female desires. This opens up new understandings of what constituted innovative literature in interwar Britain and marks Hull’s book, with its overtly erotic content and specific focus on female desire, as a political and social departure.     

Cross way cross civil war chronicles,part iii

What possibilities might melancholia offer for a queer ethics, and what might it mean to perform such an ethics onstage? In this essay the author analyzes mobile figurations of U.S. nationalism, violence, and visuality as theorized in the work of contemporary queer chorographers Bill T. Jones and Keith Hennessy. The author suggests that Jones's 1989 Untitled and Hennessy's 2006 Sol Niger evidence shifts in racialized sexuality and empire from the 1980s to the War on Terror, even as they both mark convergences between geopolitics and biopolitics. Reading these works together – despite their markedly different aesthetics and tones – elucidates a queer ethics rooted in and capable of contending with our contemporary political moment of war and U.S. empire building. Further, these works model how dance and other embodied, collective practices can engender what Jill Dolan calls “utopian performances” or possibilities for critique and transformation rooted in moving social bodies.     

This is your afterlife: gender,slavery, and televisual subjection

In 1957 Arries Ann Ward, who was formerly enslaved, appeared on the classic television interview-entertainment program, This Is Your Life. Despite Ward’s practices of refusal, the rare interview enacts an idealization of black female servitude and indebted obligation through performances of affection and racial benevolence. Ward’s appearance effectively works to resolve national crisis produced by widespread images of civil-rights protest and counterinsurgent violence, reifying discourses of American exceptionalism in Cold War context.     

Inscrutably,actually: hospitality,parasitism, and the silent work of Yoko Ono and Laurel Nakadate†

With interest in queer socialities, the author considers Jacques Derrida’s provocation in Of Hospitality to “say yes” as hospitable gesture in order to challenge the gendered and racialized demands of this charge. If Orientalist conflations of the East with femininity have in turn sexualized Asian women as simultaneously hypersexual and submissive, then how can we as viewers and readers performatively read Asian femininity in a different, and not anti-relational, orientation to hospitality? Building upon Anna Watkins Fisher’s concept of parasitic performance, this article posits inscrutability as a feminist methodology by considering Yoko Ono’s performances of Cut Piece and Laurel Nakadate’s video Happy Birthday for their interesting solicitations to audience-participants, costars, and viewers.     

same old story? children and young people’s continued normalisation of men’s violence against women

Globally, nationally and locally men’s violence against women is an endemic social problem and an enduring human rights issue within all societies and cultures. Challenging attitudes that condone violence both at the individual and community level is a key priority in its prevention. This paper brings together findings from two separate studies based on children’s and young people’s understandings of men’s violence against women. Both studies were located in Glasgow, Scotland, and used qualitative methods to explore children’s and young people’s views of men’s violence against women. The two studies, conducted nearly ten years apart, involved children aged 11 and 12 and young people aged 15 to 18. Despite the differences in age and the interval between them, there are remarkable similarities identified within both studies centring around children and young people’s normalisation of men’s violence against women. This paper presents a discussion of three of the key themes identified from these studies: the construction of men’s violence; gender roles and the naturalisation of difference; and the normalisation of men’s violence. In both studies the techniques of normalisation were employed by the participants to minimise both the seriousness of the violence and the significance of it to the victims. The findings clearly illustrate the widespread justification of gendered violence by both boys and girls. Thus, while the development and implementation of domestic violence/abuse education programmes need to take into account gender differences, targeting only boys’ attitudes fails to acknowledge an important component in reducing domestic violence/abuse: the internalisation of patriarchal norms by girls and women.     

The Beauties of Kashmir: Nila Gupta's Representations of War from a Distance

Abstract: This essay examines Nila Gupta's literary representation of the conflict in Kashmir in her short story cycle The Sherpa and Other Fictions (2008). Born and raised in Canada, Gupta has a diasporic perspective and a feminist political stance that values women's solidarity and political involvement across borders. Her short stories explore the feminist thesis that the sexual crimes committed against girls and women at times of conflict are a direct consequence of the appropriation of women's bodies for symbolic uses within the dialectics of patriarchal nationalisms. However, her stories' restrained style and their publication in a small activist press preclude easy commodification in a global market avid for narratives of ethnic violence. By reading Gupta's creative texts in relation to academic studies of communal sexual violence and nationalism, humanitarian reports on refugees and gendered violence and journalistic accounts of the conflict, this essay attempts to assess the power of literature to offer nuanced and complex representations of violent conflict and its consequences. Special attention is paid to the representation of life in the officially designated ‘migrant camps’, to the difficult issue of the social stigmatization of rape victims and to the many ways in which women are implicated.     

Associations Between Trauma Type,Timing, and Accumulation on Current Coping Behaviors in Adolescents: Results from a Large,Population-based Sample

The development of adolescents’ coping in response to stress is critical for adaptive functioning; these coping strategies may be shaped by numerous environmental factors during childhood, including experiences such as exposure to trauma. Childhood trauma has been shown to undermine contemporaneous coping, but how does a history of exposure to trauma and the characteristics of that trauma (type, timing, and accumulation) relate to current coping among adolescents? We addressed this question using a nationally-representative sample of 9427 adolescents (ages 13–18; 48.9% female; 66% White). Adolescents reported on their lifetime exposure to 18 different traumas, including witnessing or experiencing interpersonal violence, accidents, disasters, and violent or accidental loss of loved ones, as well as their current use of coping behaviors when under stress (problem-focused, positive emotion-focused, and negative emotion-focused coping strategies). The study’s results highlight that exposure to nearly all forms of trauma was unrelated to problem-focused and positive emotion-focused coping behaviors, but strongly associated with increased negative emotion-focused coping. Use of each coping style did not vary with age at first exposure to trauma, but increased with the number of lifetime traumatic events experienced. The findings suggest that the extent of prior exposure to trauma, including variations across type and timing, may be related to a particular form of coping that has been linked to increased risk for mental health problems. Study results highlight coping strategies as a potential target for prevention and treatment efforts, and indicate a need to better understand the malleability and trajectory of coping responses to stress for promoting healthy youth development.     

“I have always been so afraid”: Fearsome Encounters in Unni Lindell’s Rødhette

Norwegian crime writer Unni Lindell’s novel Rødhette [Red Riding Hood] (Oslo: Aschehoug & Co, 2004/2010) is a narrative about a woman whose feeling of safety transforms into a fear of violation, and how her defence against this fear takes the form of systematic violence. The novel is a rewriting of the traditional tale of “Little Red Riding Hood” and is a comment on the patriarchal premises of the most widely known version of this folktale. In the article, I discuss the representation of the female murderer as being in the grip of an affective economy based on the fear of male violence, represented in the novel by the metaphor of the “wolf”, and how fear grows into a comprehensive, moral and pragmatic, murderous orientation towards the world after an experience of violence. Theoretically, I draw on affect theory and particularly Sara Ahmed’s ideas about the affective politics of fear (The cultural politics of emotion. Edinburgh: Edinburgh University Press, 2014) and how this fear turns into a significant qualifier in encounters with people who are experienced as strangers (Strange encounters: Embodied others in post-coloniality. London: Routledge, 2000). Fear is treated in Lindell’s novel as a psychological constriction and a tool for the construction of agency, through which the mechanisms of othering and violence are explored.     

“It's here,it's that time:” Race,queer futurity,and the temporality of violence in Born in Flames

This paper uses the film Born in Flames to engage questions around hope and the future that have been central to queer studies in the last decade. As the author understands it, the film's critique of the time of reform and progress holds profound implications for how we think about the future. By demonstrating the repetitions of racialized and gendered violence over time, the film produces a theory of the future where the continuation of the present as it is means the future will not come. If the state organizes populations, institutions, and forms of knowledge through a regulatory imagination and disciplined vision, it also determines the future in the same manner. The state ensures that the future can be extrapolated from the present by managing, contorting, and eradicating the future before it arrives. It uses preemptive action (war, assassination, incarceration, policing, administrative violence, and surveillance) to make its “imagined future come to pass.” The author argues that by showing the continuity between the racialized and gendered violence of the past, present, and future, the film constructs an anticipatory queer politics of urgency and presentism.     

'More Intimate Than Violence': Sexual Violation in Sarah Dunant's Transgressions

Horeck looks at what happens when a feminist author attempts to rewrite one of culture's most powerful narratives: the story of female victimization and male sexual violence. Exploring the controversy surrounding Sarah Dunant's 1997 thriller Transgressions , a novel accused of being 'anti-feminist' for its alleged depiction of female sexual arousal in a rape scene, she asks after feminism's fictional investment in images of rape. What kind of cultural work are images of sexual violence being made to perform for feminist crime writers? Her contention is that Dunant's novel exemplifies the purchase that rape holds for feminism as a scenario for working through questions of female agency and male-female sexual relations. Through her represenation of the female translator's attempt to rewrite a dominant cultural narrative of male brutality and female victimization, Dunant is thematizing the difficult work of the feminist crime writer. But while the novel's fictional representation of sex and violence can be read as an attempt to unsettle governing gender codes, Horeck argues that it also inadvertently shows up the limitations of the female crime writer's attempt to fight 'fantasy with fantasy'.     

Alice’s Adventures in Wonderland as an Anti-Feminist Text: Historical,Psychoanalytical and Postcolonial Perspectives

This article is an attempt to engage with the question ‘Is Lewis Carroll’s Alice’s Adventures in Wonderland a feminist book?’ Arguments from historical, psychoanalytical and postcolonial perspectives are presented and discussed. By summarizing and engaging with both sides of the debate, this article detects the source of the unresolved conflicts surrounding whether Carroll’s novel is a feminist text to be the different sides’ distinctive interpretations of Alice’s social identification. The pro-Alice-as-feminist-icon camp simply identifies her as an active and potentially subversive female role model for women, and thus subsumes Alice under the general category of women by assumption, whereas the iconoclastic camp, including the author of this article, reading Alice’s Adventures in Wonderland as an anti-feminist text, purports to differentiate the role of little girls and the role of adult women in the Victorian period. It argues that Alice’s supposedly unconventionally unfeminine characteristics do not necessarily imply Carroll’s enthusiasm for women’s liberation from marginality and domesticity, and instead they reveal his misogynistic fear of adult women and his pessimistic and nostalgic mourning for the loss of girlhood innocence and the inevitable corruption that ensues. The fictional character’s conformist ideologies are also detected in her participation in the oppressive system and mindset of British imperialism, which paradoxically further confines her in the oppressed domain of female inferiority and domesticity.     

Fagerholm Goes Oprah: Minor Literature,Global Market,and Gender in Literary Exchange

Abstract

In this article, I study the journey of the Finland-Swedish author Monika Fagerholm’s (b. 1961) novel The American Girl to the pages of O, The Oprah Magazine. This event, here called “Fagerholm goes Oprah”, offers an illustrative example of the global movements of literature today, and of the ongoing negotiation of relations between local and global, the Nordic countries and the USA, minor literature and the global market. The article describes the different phases of the transmission of this novel, studies the means by which a novel from a minor body of literature transgresses its geo-linguistic position and, in this specific case, demonstrates the role of gender. In this way, the novel not only creates fictive, transnational spaces for its female characters and readers, but it also enters and contributes to a network of female agents in widely different geographical and cultural contexts. The event “Fagerholm goes Oprah” is a sign of the ongoing globalization of the literary field, but its reception also reveals the presence of an opposing tendency: the continuing significance of localization in literary exchange. All in all, the novel and its reception illustrate the many strategies used to create a connection between two different cultures, and also display the importance of various cultural currents in the transmission of the novel, such as feminism and Nordic Noir.     

Rebel masculinities of star/director/text: James Dean,Nicholas Ray,and Rebel Without a Cause

Director Nicholas Ray is arguably most familiar to cinema culture as the American test case for la politique des auteurs, the influential mode of film criticism formulated at the French magazine Cahiers du Cinéma after World War II. Ray was elevated to the status of film ‘author’ for a consistency of vision and style associated with rebellion. Yet, he was known in the film industry as an ‘actor's director,’ both for his background in theater and for bringing Lee Strasberg's ‘The Method’ to Hollywood after it had gained considerable cachet at the Actors Studio in New York since the 1930s. Although Ray was relatively unknown among the movie-going public, his films were (and still remain) recognizable for their male stars, including James Dean, Robert Mitchum, and Humphrey Bogart. In this essay, I look at his most famous film, Rebel Without a Cause (1955 Rebel Without a Cause, 1955. Film. Directed by Nicholas Ray. USA: Warner Bros. [Google Scholar]), to argue that Ray's reputation as a rebel auteur was as much the product of highbrow auteurist film criticism as the mass cultural persona of ‘rebel male hero’ that the film's star James Dean cultivated. As an actor, Dean was promoted at the vanguard of an innovative and experimental new performance style. Further, his star-performance text reveals a construction of masculinity that the film asks us to view as socially rebellious, which is retroactively linked to Ray. Both the film and the popular press form Dean's image constituted by his self-fashioned sense of authenticity, his non-normative sexuality, his highly publicized death, and the identification with an alternative family structure his role invites.