drones,swarms and becoming-insect: feminist utopias and posthuman politics

Insects and ‘the swarm’ as metaphors and objects of research have inspired works in the genres of science fiction and horror; social and political theorists; and the development of war-fighting technologies such as ‘drone swarms’, which function as robot/insect hybrids. Contemporary developments suggest that the future of warfare will not be ‘robots’ as technological, individualised substitutions for idealised (masculine) warfighters, but warfighters understood as swarms: insect metaphors for non-centrally organised problem-solvers that will become technologies of racialisation. As such, contemporary feminist analysis requires an analysis of the politics of life and death in the insect and the swarm, which, following Braidotti (2002), cannot be assumed to be a mere metaphor or representation of political life, but an animating materialist logic. The swarm is not only a metaphor but also a central mode of biopolitical and necropolitical war, with the ‘terrorist’ enemy represented as swarm-like as well. In analysing the relations of assemblage and antagonism in the war ontologies of the drone swarm, I seek inspiration from what Hayles (1999, p. 47) describes as a double vision that ‘looks simultaneously at the power of simulation and at the materialities that produce it’. I discuss various representations and manifestations of swarms and insect life in science/speculative fiction, from various presentations of the ‘Borg’ in Star Trek (1987–1994, 1995–2001, 1996), Alien (1979) and The Fly (1958, 1986) to more positive representations of the ‘becoming-insect’ as possible feminist utopia in Gilman’s Herland (2015 [1915]) and Tiptree’s Houston, Houston, Do You Read? (1989 [1976]). Posthuman warfare also contains the possibilities of both appropriating and rewriting antagonisms of masculine and feminine in the embodiment of the subject of war in the swarm. This piece seeks to analyse new ways of feminist theorising of the relations of power and violence in the embodiment of war as the swarm.     

what’s in a face?: Sara Baartman,the (post)colonial gaze and the case of <Emphasis Type="Italic">Vénus Noire</Emphasis> (2010)

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche’s film Vénus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche’s peculiar filmic strategies is the crucial focus of this paper. While Sara’s body is continually exposed and violated, Vénus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari’s (1987 [1980]) account of the close up, I explore how Kechiche’s take on Sara’s face builds a strong connection with the spectator’s extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator’s own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world.     

what’s cooking,man? masculinity in European cooking shows after <Emphasis Type="Italic">The Naked Chef</Emphasis>

The cooking show The Naked Chef (1999, 2000, 2001) with Jamie Oliver has often been highlighted as an example of the cooking show genre’s potential for reformulating masculine identity through cooking. Through a series of close readings of a selection of cooking shows from France, the UK and Denmark post-The Naked Chef and through a dialogue with other works on the subject, this article will attempt to identify the tendencies in the constructions and negotiations of masculinity in the cooking show genre following The Naked Chef and to understand these in relation to a revision of masculine identity in contemporary culture. The article is informed by poststructural gender theory and understands ‘doing food’ and ‘doing masculinity’ as two mutually constituting practices. The analyses identify four new tendencies in the construction of masculinity in cooking shows at the beginning of the twenty-first century: 1) rechefisation, 2) the TV chef as a moral entrepreneur, 3) the TV chef and the revitalisation of the national myth and 4) cooking as masculine escapism. The article concludes that the innovation of the masculine identity that was launched in The Naked Chef has not continued; rather, the genre has become a platform for the revitalisation of traditional masculinity discourses.     

paradise,built in hell: decolonising feminist utopias in <Emphasis Type="Italic">Top of the Lake</Emphasis> (2013)

Jane Campion and Gerard Lee’s miniseries Top of the Lake (2013) marked New Zealand-born but Australian resident Campion’s return to New Zealand for the first time since The Piano (1993). The show’s central subject of child sexual abuse by state officials echoes the different yet resonating political situations in twenty-first century Australia and New Zealand, a state of emergency that allows for the emergence of what Rebecca Solnit (2009) calls a ‘disaster community’. Implicitly addressing critiques of her colonialist gaze in the earlier film, the miniseries both decolonises the idea of the utopian no-place and offers an alternate, emplaced vision of relational, anti-colonial provisional utopia through the main, mirroring female characters, Detective Robin Griffin and her half-sister Tui Mitcham. In contrast to contemporaneous police procedurals focussed on lone female officers, Top of the Lake rejects the authority of the police state and offers a resolution aslant that critiques generic expectations of individual heroism and resolution within a legal framework. Looking specifically at how the show knows its place—Lake Wakatipu on South Island, New Zealand—the article offers a close reading of Top of the Lake’s formal critique of the male colonial gaze and its adoption of a feminist soundscape in relation to Campion’s oeuvre; and considers its politics through indigenous media theory, to argue that it marks an initial step towards a decolonisation of viewing practices in relation to feminist conceptions of utopia.     

sex,work, meat: the feminist politics of veganism

Since the publication of The Sexual Politics of Meat in 1990, activist and writer Carol J. Adams (2000 [1990]) has put forth a feminist defence of veganism based on the argument that meat consumption and violence against animals are structurally related to violence against women, and especially to pornography and prostitution. Adams’ work has been influential in the growing fields of animal studies and posthumanism, where her research is frequently cited as the prime example of vegan feminism. However, her particular radical feminist framework, including her anti-pornography and anti-prostitution arguments, are rarely acknowledged or critiqued. This article challenges the premises of Adams’ argument, demonstrating that her version of vegan feminism is based upon an unsubstantiated comparison between violence against women and violence against other-than-human animals, and on the silencing and exclusion of sex workers as subjects. The article contests the limited reading of Adams, and of feminism, offered in some key works in animal studies and posthumanism, at the same time that it recognises the need to challenge the anthropocentrism evident in much feminist theory. By way of alternative approaches to the sexual politics of veganism, the article highlights the interventions of artist and activist Mirha-Soleil Ross, proposing that her situated and embodied commitment to animal rights brings sex worker agency into the story, while resisting simple comparisons among different forms of violence. The concerns raised by Ross overlap in compelling ways with recent research in performance studies and labour history, bringing the question of work and workers, animal and human, to the fore. These studies point towards a potentially more useful framework than that of Adams for understanding the human violence suffered by different species, including those destined to be eaten by people.     

On Being Uncomfortable

Since the last issue of Feminist Legal Studies, we editorial board members have had lots of conversations about comfort, displacement and alienation. As we developed the programme for #FLaK2016 we thought about it as a kind of pulling ourselves out of our comfort zone (Fletcher et al. in Fem Leg Stud 24:1–6, 2016), if academic events and journals ever have a comfort zone. Drawing on a mix of feminist live performance methods and a science and technology studies-type curiosity for objects of experimentation, we tried out a kitchen table method of hosting a live research conversation with activists, artists and academics over two days (Fletcher in Fem Leg Stud 23:241–252, 2015). But we had not fully anticipated the way that the Brexit result would contribute to and complicate discomfort. A fuller analysis of FLaK awaits a later moment, but here we pick out this one aspect of our gathering—feelings of discomfort – as they animate the contributions to this issue in interesting ways.     

Beyond ‘Revenge Porn’: The Continuum of Image-Based Sexual Abuse

In the last few years, many countries have introduced laws combating the phenomenon colloquially known as ‘revenge porn’. While new laws criminalising this practice represent a positive step forwards, the legislative response has been piecemeal and typically focuses only on the practices of vengeful ex-partners. Drawing on Liz Kelly’s (Surviving sexual violence. Polity Press, Cambridge, 1988) pioneering work, we suggest that ‘revenge porn’ should be understood as just one form of a range of gendered, sexualised forms of abuse which have common characteristics, forming what we are conceptualising as the ‘continuum of image-based sexual abuse’. Further, we argue that image-based sexual abuse is on a continuum with other forms of sexual violence. We suggest that this twin approach may enable a more comprehensive legislative and policy response that, in turn, will better reflect the harms to victim-survivors and lead to more appropriate and effective educative and preventative strategies.     

Between Labour and Love: The Re‐erotization of Home‐making in Egalitarian Couples within a Nordic Context

This article addresses a proposed rupture between duty and desire in late modern intimacy: the optimistic account of liberated love propagated by Anthony Giddens (1991 Giddens, Anthony. 1991. Self and Society in the Late Modern Age, Cambridge: Polity Press.  [Google Scholar], 1992 Giddens, Anthony. 1992. The Transformation of Intimacy: Sexuality, Love and Eroticism in Modern Societies, Cambridge: Polity Press.  [Google Scholar]) on the one hand, and the feminist critique, among others presented by Lynn Jamieson (1998 Jamieson, Lynn. 1998. Intimacy. Personal Relationships in Modern Societies, Cambridge: Polity Press.  [Google Scholar], 1999 Jamieson, Lynn. 1999. Intimacy transformed? A critical look at the “pure relationship”. Sociology, 33(3): 477–494.  [Google Scholar]) on the other, that emphasizes a widened gap between ideals of pure love and a persistent gendered division of work. Drawing on a longitudinal study of egalitarian couples in Norwegian society, the article outlines an alternative picture. Faced with a noticeable erotization of work and an accentuated focus on the child as a project, neither negotiations for a fair distribution of practical duties nor the mutual disclosure and passion seem to provide the glue in these couples. Instead, the tensions between domestic responsibilities, heavy work requirements, and high expectations on emotional closeness seem to produce new configurations of commitment and desire. Rather than untying domestic necessities from passionate love, these couples transform the timebind into a narrative about shared projects. The achievements of these shared projects are twofold: they liberate the process of home‐making from the gendered narratives, and they permeate these de‐gendered narratives with a romantic spirit. By making these joint projects a focal point in their everyday lives, these couples have managed to reformulate both love and home‐making in a way that produces a committed “in‐between” in their intimate relationship, the overarching principle that is missing in Giddens' concept of confluent love.     

Grrl explorers of the World Wild Web

Scholars in feminist rhetorical theory and linguistics have documented ways in which online environments reinstate patriarchal forms of control, leading to the continued online victimization of women. In this article, young women's resistance to a narrative of victimization is seen through the lenses of a feminist reconstructionist perspective and a gender diversity perspective (Foss, Foss and Griffin 1997 Foss Sonja Griffin Cindy Foss Karen. 1997 Transforming rhetoric through feminist reconstruction: A response to the gender diversity perspective. Women's Studies in Communication, 20 117 35  [Google Scholar]; Condit 1997 Condit Celeste M. 1997 In praise of eloquent diversity: Gender and rhetoric as public persuasion. Women's Studies in Communication, 20 91 116  [Google Scholar]). The author finds that grrls are best understood within a gender diversity perspective on rhetoric (Condit 1997 Condit Celeste M. 1997 In praise of eloquent diversity: Gender and rhetoric as public persuasion. Women's Studies in Communication, 20 91 116  [Google Scholar]; Butler 1990 Butler Judith. 1990 Gender Trouble. Feminism and the Subversion of Identity. 1st ed. New York Routledge [Google Scholar], 1997 Butler Judith. 1997 Excitable Speech: A Politics of the Performative. New York Routledge [Google Scholar]). Grrls appropriate the frontier metaphor and engender masculine talk to communicate resistance and change. The author concludes that the rhetoric of young women broadens the scope of feminist rhetorical criticism and calls for a re‐visioning of feminist rhetoric.     

‘Control Grabbing’ and small-scale agricultural intensification: emerging patterns of state-facilitated ‘agricultural investment’ in Rwanda

The Rwandan government's ongoing reconfiguration of the agricultural sector seeks to facilitate increased penetration of smallholder farming systems by domestic and international capital, which may include some land acquisition (‘land grabbing’) as well as contract farming arrangements. Such contracts are arranged by the state, which sometimes uses coercive mechanisms and interventionist strategies to encourage agricultural investment. The Rwandan government has adapted neo-liberal tools, such as ‘performance management contracts’, which make local public administrators accountable for agricultural development targets (often explicitly linked to corporate interests). Activities of international development agencies are becoming intertwined with those of the state and foreign capital, so that a variety of actors and objectives are starting to collaboratively change the relations between land and labour. The global ‘land grab’ is only one aspect of broader patterns of reconfiguration of control over land, labour and markets in the Global South. This paper demonstrates the ways in which the state is orienting public resources towards private interests in Rwanda, through processes that have elsewhere been termed ‘control grabbing’ [Borras et al. 2012 Borras, S.M., et al. 2012. Land grabbing and global capitalist accumulation: key features in Latin America. Canadian Journal of Development Studies/Revue canadienne d'études du développement, 33(4), 402–416. doi: 10.1080/02255189.2012.745394[Taylor &; Francis Online], [Web of Science ®] , [Google Scholar], 402–416].     

Learning and teaching to care for young people

“What is youth work, and what are the best ways to teach someone to be a high quality youth worker?” This is a thorny and contested question that many scholars (Emslie, 2013 Emslie, M. (2013). Toward a youth work profession. Child and Youth Services, 34, 125–138.[Taylor &; Francis Online] , [Google Scholar]; Fusco &; Baizerman, 2013 Fusco, D. &; Baizerman, M. (2013). Professionalization deconstructed: Implications for the field of youth work--guest editors' comments. Child and Youth Services, 34, 85–88.[Taylor &; Francis Online] , [Google Scholar]; Magnuson &; Baldwin, 2014 Magnuson, D. &; Baldwin, C. (2014). In defense of professionalism: A response to Fusco and Baizerman. Child and Youth Services, 35, 4–15.[Taylor &; Francis Online] , [Google Scholar]; Starr, Yohalem &; Gannett, 2009; Walker &; Larsen, 2012 Walker, K. &; Larsen, R. (2012). Youth worker reasoning about dilemmas encountered in practice: expert-novice differences. Journal of Youth Development, 7(1), 5–23. [Google Scholar]) and directors of higher education programs in youth work (VanderVen, 2015 VanderVen, K. (2015, March 24-25). Advancing child and youth work through professional preparation: Proceedings of the summit on higher education in child and youth work at the University of Pittsburgh. Milwaukee, WI: The Association for Child &; Youth Care Practice. Retrieved from: http://www.acycp.org/advancing-child-and-youth-work-through-professional-preparation [Google Scholar]) have been asking as youth work has emerged as a field of higher education study in the U.S. and other countries. Although there are many positions within the professionalization debate, most agree about the importance of better defining a knowledge base that describes youth work (Emslie, 2013 Emslie, M. (2013). Toward a youth work profession. Child and Youth Services, 34, 125–138.[Taylor &; Francis Online] , [Google Scholar]). This base includes defining both content knowledge and context-dependent practices. For instance, Walker &; Gran (2010 Walker, K. &; Gran, C. (2010). Beyond core competencies: Practitioner expertise as a critical component of quality. St. Paul, MN: University of Minnesota Extension Center for Youth Development. [Google Scholar]) distinguish between competencies, which are discrete skills and content knowledge, and competence, which is the practice of knowing how to apply multiple skills and knowledge in particular situations and contexts. She writes that competence, “... is the knack for doing youth work skillfully, gracefully; for doing the right thing at the right time...While most of us know it when we see it, as a field we don't have a very reliable way of identifying it, let alone intentionally producing it” (p. 3). In this article, I name and describe one youth work practice, caring for, towards developing reliable ways that youth work professionals can engage and develop competence in learning and teaching to care for young people.     

speculating Latina radicalism: labour and motherhood in <Emphasis Type="Italic">Lunar Braceros 2125</Emphasis>-<Emphasis Type="Italic">2148</Emphasis>

This essay unpacks the utopian impulse in Rosaura Sánchez and Beatrice Pita’s novella Lunar Braceros 2125-2148 (2009). As speculative fiction that has strong, explicit critiques on labour and globalisation, Lunar Braceros crafts a future-historical and future-present world where racialised forms of labour exploitation are the norm. The novella offers the radical response of worker revolution that can only ever be a potential and desire. The novella does this by presenting an ambivalent labour politics that results in the dismantling of the family as a heteronormative unit and that depend on the figure of the lost radical mother. The intervention this essay makes into Latina/o studies and feminist studies is to rearticulate the figure of motherhood through a specific lens of radicalism that is both queer and proletarian. By thinking about Latina radicalism through the intersections of labour, gender and non-normative sexuality in the novella, we see that the lost mother figure disrupts capitalist patriarchy by offering radical potentiality.     

Competency in Establishing Positive Relationships With Program Youth: The Impact of Organization and Youth Worker Characteristics

Frontline youth workers’ ability to form strong, positive relationships with program youth is a key element in maximizing the benefits of program participation. A recent National Collaboration of Youth (2006 National Collaboration for Youth. ( 2006 ). Capturing promising practices in recruitment and retention of frontline youth workers. Retrieved from http://www.nydic.org/nydic/documents/CompletePublication.pdf  [Google Scholar]) report identified six elements associated with youth workers’ competency to complete their professional roles: compensation, training opportunities, supportive work environment, clear work roles, sense that work is valued, and networking opportunities. The current study investigated whether having these elements predicted 459 youth workers’ self-reported job competency in forming positive relationships with youth. Regression analyses revealed that job efficacy, clarity of work roles, and benefits significantly predicted competency in forming strong relationships with program youth. Findings are discussed in relation to practice implications for the youth work field.     

Caring consumption as marketing schema: representations of motherhood in an era of hyperconsumption

What can representations of women's ‘caring consumption’ (Thompson 1996 Thompson, C., 1996. Caring consumers: gendered consumption meanings and the juggling lifestyle. Journal of consumer research, 22, 388–407. Available from: http://www.jstor.org/stable/2489789.[Crossref], [Web of Science ®] , [Google Scholar]) reveal about broad cultural understandings of the nature of motherhood? We study Canadian television advertisements to gain insight into the production of cultural schemas and the reproduction of beliefs about gender and motherhood. Employing an inductive qualitative analysis of portrayals of mothers and women who are not depicted as mothers, we find that the defining feature of mothers' consumption is a unidimensional depiction of control and caring for others, presented as self-evidently gratifying and fulfilling, in the absence of competing consumption goals. Mothers' identity emerges solely from successful consumer choices that benefit others. Such unidimensional representations of consumption stand in contrast to the consumption of women who are not depicted as mothers, who are found to engage in hyperbolic and indulgent consumption targeted towards self-gratification. We thus provide novel empirical data which show that depictions of consumption in mothers and in women not depicted as mothers are extreme in nature. Our findings provide support for, and elaborate on, the concept of ‘caring consumption’ by helping to make sense of media representations appearing within the conjunction of the contemporary marketing context of hyperconsumption, and the parenting/gender context of intensive mothering. By examining extreme consumption in television advertisements, we gain insight into features of maternal consumption ideals that may not be observable in everyday instantiations, such as the lack of mothers' consumption for self-benefit.     

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.     

‘Labour and new social movements in a globalising world system’: the future of the past

A new set of questions [is] being created by a changing present. Questions about who constitutes the working class, about how fragmented and divided groups of workers have organised, issues about workplace and community and the democratisation of unions and state policies are assuming centre stage. As the contours of the present shift, it is becoming possible to look back from new perspectives.1 Rowbotham, ‘New Entry Points,’ 68.      

Cross-Currents: Elizabeth von Arnim,Max Beerbohm and George Bernard Shaw

Abstract

When Elizabeth von Arnim’s novel Introduction to Sally appeared in 1926, the critical response was divided. Dame Ethel Smyth may have told von Arnim the book was her ‘masterpiece’ but some were less convinced; the reviewer in Punch, for instance, considered it ‘a coarse-grained fantasy’. By situating Introduction to Sally in a wider literary context that includes Max Beerbohm’s Zuleika Dobson (1911 Beerbohm, Max (1964a), ‘To Reggie Turner, 3 November 1911’, in Rupert Hart-Davis (ed.), Letters to Reggie Turner, London: Davis, p. 126. [Google Scholar]) and George Bernard Shaw’s Pygmalion (1914 Shaw, George Bernard (1914), ‘Pygmalion: A Romance in Five Acts’, Everybody’s Magazine, Vol xxxi, (5). [Google Scholar]), this article explores the personal connections between these three authors and the thematic cross-currents in these texts. Is von Arnim’s novel really as ‘coarse’ and ‘vulgar’ as some earlier critics suggest? Or is it a novel that successfully mixes the plausible with the artificial, the comic and the socially catastrophic, in ways that, more than a decade later, resonate with the work of her friends to highlight several continuing preoccupations?