Interrogating the Look of the Gaze: Theorizing a Latina Cine-subjectivity

Abstract: This article concerns sexual object choice, transgender subjectivities and emancipatory heterosexuality as imaged in three films: The House of the Spirits (1993), I Like It Like That (1994) and Mi Vida Loca (1994). The author argues, through her examination of the three films, for cinematic ways to refocus and interrogate the look and gender of the gaze, thereby envisioning what the author theorizes as a Latina cinematic subjectivity. The idea of a Latina cinematic subject is presented in order to articulate how at particular moments in the films an autonomous Latina subjectivity is created through narrative and mise-en-scène. It is at these narrative and aesthetic moments that the characters look back at the objectifying gaze, thereby creating a cinematic sexual subjectivity for the characters and a model of agency for the culturally resistant spectator who is doing the looking. The House of the Spirits points to the contradiction of sexual object choice and female desire; I Like It Like That reveals the performative and fluid possibilities of gender, as well as the hybridity of black and Latino cultures; and Mi Vida Loca reflects the struggle for agency in Chicana heterosexual relationships and in their material lives. The author argues that the three portrayals begin important cultural work in the rethinking of sexualities, as they unthink the rigidity of monosexuality, destabilize normative conceptions of gender and reinvigorate agency and egalitarianism in heterosexual relations.     

Dancing on the head of a pin? Foetal life and the european convention

The case of Vo v. France represents the latest phase of the European Court of Human Rights’ thinking on the scope of Article 2 of the European Convention on Human Rights (the right to life) in relation to foetal life where a foetus had been lost owing to a medical accident. The Court by a majority decided that, “even assuming” Article 2 applied to the instant case (albeit to the life of the pregnant woman rather than that of the foetus), it had not been violated. While the facts in Vo were extreme and exceptional, the Court will shortly hear the case of D v. Ireland concerning access to abortion for foetal anomaly, an application made under Articles 3, 8, 10 and 14 of the European Convention. If the case of D were declared admissible, the Court would then have to consider whether a denial of access to abortion for foetal anomaly constitutes inhuman and degrading treatment contrary to Article 3, or an interference with a pregnant woman’s right to respect for private life under Article 8 (and if so, how the doctrine of the margin of appreciation applies). The Grand Chamber precedent of Vo displays ambivalence about whether Article 2 should apply to foetal life, and its resort to the “even assuming” formula spared Member States the difficulty of having to justify their various abortion regimes, by reference to this Article. It remains to be seen whether in a case like D that is directly concerned with abortion, the Court will take a more definite stance on the correct balance to be struck between the State’s interest in protecting foetal life and the Convention rights of pregnant women. Vo v. France [G.C.], judgment of 8th -July 2004, no. 53924/00; D v. Ireland [4th section], no. 26499/02, oral hearing on admissibility and merits, 6 September 2005     

A Letter Sent,Waiting to be Received: Queer Correspondence,Feminism and Black British Art

Abstract

This article examines what the published letter does as a form that is both intimate and public, and how it is particularly resonant when dealing with the silences and absences around queer and feminist artist of colour histories. Connections are made between three letters published in feminist and queer journals and books, written for readers who may include the writers’ loved ones, friends, contemporaries, and future readers. These three letters are contained within the following publications: Surviving Art School (2016) by the group Collective Creativity, a QTIPOC artist group who made the publication as part of a wider project examining the history of Black British Art (members are: Evan Ifekoya, Raisa Kabur, Rudy Lowe and Raju Rage); a special issue of FAN (Feminist Arts News) edited by Lubaina Himid and Maud Sulter in 1988, the precursor to the more well-known collection Passion, edited by Sulter in 1990; ending with Himid's recent reflections on her curation in the 1980s through a series of ‘Letters to Susan’ published in the 2011 catalogue for the exhibition Thin Black Line(s) at Tate Britain. Through close examination of these examples, this article explores the particularities of the letter form, asking if it allows feminist and queer artists of colour to present their experiences in a manner that encourages all their readers to take part in the conversation, whilst prioritizing calls for other people of colour to respond. The article proposes that the published letter form keeps feminist histories alive and creates a counterpublic that speaks to and for a community that is imagined as both geographically and temporally diffuse.     

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.     

SATI AND PERFORMATIVITY

This article explores some of the conceptual and representational difficulties sati presents for Western feminist analysis, and draws upon Judith Butler's concept of performativity to generate an account of the constitution of satis’ subjectivities and agencies that may also provide a basis for theoretical and political contestations of sati.     

Haunted by the Lady Novelist: Metafictional Anxieties about Women's Writing from Northanger Abbey to The Carrie Diaries

This paper argues that the development of the identity of the professional woman writer as a ‘lady novelist’ in the mid-eighteenth century has had a lasting and detrimental impact on the status of women's writing that lingers through to the present, particularly in the critical discourse surrounding chick lit. The first part of this paper discusses the figure of the lady novelist and traces her centrality to criticisms of women's writing from the eighteenth century through to the twenty-first. The second part of this paper then examines the haunting presence of the lady novelist in the metafictional works of seven representative women writers: Jane Austen's Northanger Abbey (1818), Elizabeth Barrett Browning's Aurora Leigh (1856), Louisa May Alcott's Little Women (1868), L. M. Montgomery's Anne of Green Gables (1908), Betty Smith's A Tree Grows in Brooklyn (1943), Fay Weldon's The Life and Loves of a She-Devil (1983), and Candace Bushnell's The Carrie Diaries (2010). By drawing a through-line that connects these texts, I argue for a renewed understanding of the ways in which Western women writers from the eighteenth century to the present are unified by a pervasive anxiety about being a ‘lady novelist’.     

Pyrographies: Photography and the good death

This essay theorizes the ethical potential of photography or what I call “pyrography” by enacting a version of care for death in attending closely to a sort of rehearsal for the deathbed in French photographer and writer Hervé Guibert's photo-novel Suzanne and Louise first published by Gallimard in 1980, the same year as Roland Barthes's famous essay on photography, Camera Lucida. The essay develops the transformative ethical possibilities of and queer political potentialities of pyrography by reading Guibert's project with his two elderly aunts in relation to the work of two of Guibert's intimates: Michel Foucault's “The Social Triumph of the Sexual Will” and Roland Barthes's Camera Lucida and Mourning Diary. In Mourning Diary, Barthes describes the plan for Camera Lucida as an ephemeral monument to his dead mother whose loss he calls, following the last work of psychoanalyst Donald Winnicott: “the catastrophe that has already occurred.” Through its own writing with fire of the death we fear that has already occurred and that we cannot access directly, photography may enable the kind of “as if” work or projective imaginative enactment for which Winnicott calls. This essay put this concept of the photographic pyre or pyrographies to work to characterize a kind of photographic act. Pyrography is a facture of and with the flammable, not of and about the past, but for the present and future. It is a practice of making volatile structures for feeling with the taboo scenes of the conjunction of old age, desire, and death that create spaces not just for mourning the losses that have actually happened. Pyrographies shape spaces in which one might begin to imagine and transact with care the losses and the letting go yet to come. Pyrographies, I am suggesting, trade in the illusions of presence. They give us the catastrophe that has already occurred in palpable form, enabling us to negotiate shame and fear but also desire toward the seemingly impossible: the good death.     

‘How the Modern Girl Attains Strength and Grace’: the Girl's Own Paper,sport and the discipline of the female body, 1914–1956

In the first half of the twentieth century there was a great deal of debate about increasing female participation in sporting activities, and changes to the female sporting body and the way in which it was displayed. Magazines for girls played a key role in the construction of the female body, and in mediating for their readers a range of diverse views on the meaning, purpose and benefits or dangers of female physical culture. This article explores the way in which one periodical, the Girl's Own Paper (GOP), disseminated those discourses and allowed its readers to explore different viewpoints. It argues that the way in which GOP presented sport for girls and women was contingent upon the age of the intended readership, and that the coverage of sport within the paper reached a peak in the 1930s when the target readership was aged 12 to 16.     

``That Woman Is a Woman!' the Case of Bellinger v. Bellinger and the Mysterious (Dis)appearance of Sex: Bellinger v. Bellinger [2003] 2 All E.R. 593; [2003] F.C.R. 1; [2003] 2 W.L.R. 1174; [2003] UKHL 21

In the case of Bellinger v. Bellingerthe House of Lords has for the first time exercised the power to make a declaration of incompatibility under s. 4 of the Human Rights Act 1998, finding that U.K. law on marriage is in breach of Articles 8 and 12 of the European Convention on Human Rights. This case note argues, however, that despite this decision, and despite also recent judgements of the European Court of Human Rights upholdingthe rights of transsexual people, the principles applied in Bellingerdemonstrate that judicial discourse on transsexuality remains bound within the heterosexual and biological framework of Corbett v. Corbett.     

English Transgender Law Reform and the Spectre of Corbett

This article will provide a critique of tworecent English marriage law decisions, thefirst concerning a (female to male) transgenderman and the second a (male to female)intersexed woman. It will do so throughconsideration of the dialogue between each andthe landmark transgender case of Corbett v. Corbett. It will highlight howboth decisions, in seeking to minimise the factof `departure' from Corbett, serve toreproduce key elements of that decision whichserve to undermine the future prospects fortransgender law reform in the English context.In particular, both decisions, in differentways, or with different emphases, ensure that`legal sex' continues to be determined by(bio)logical and temporal factors. Crucially,however, as in Corbett, it is legalanxiety over the boundaries of the `natural',and the homophobia of law, that underscoresthis anxiety, that account for these particularconstructions of `legal sex'.     

‘Call Us Ms.’: Viva and arguments for Kenyan women's respectable citizenship 1975–80

Drawing on Viva, the first women's magazine published in East Africa, this article articulates the ways educated Kenyan women actively inserted themselves into public debates and constructions of the new nation. It argues that Viva authors and editors employed rhetorics of nationalism and development to advocate for Kenyan women's right to equal citizenship. They wanted participation in the possibilities, power, and self-reliance that postcolonial nationalism promised its citizens and mobilized images of a productive, modern woman to make their case. Viva's producers appropriated the momentum of 1970s development rhetoric and international women's liberation to show that Kenyan women were already fulfilling mandates to develop themselves and their fellow Kenyans through education, wage labor, consumer habits, and moral respectability. Viva reveals the ambitions, strategies, and desires of Kenya's educated women, not only for themselves but also for their nation and their rural ‘sisters’.     

Editorial

The whole of this issue of Australian Feminist Studies is devoted to the theme ‘Making us Modern’ guest-edited by Alison Ravenscroft. Modernity was, I have argued myself, an essential element of First-wave Feminism. The articles that Alison has brought togetherm show how mutually imbricated are questions raised by a later feminism and modernism. Alison has written her own introduction for this splendid issue. Accordingly, all that I need to do here is extraneous to it. I want to record our regret at the passing of Oriel Gray, one of Australia's first female playwrights. The Playwrights' Advisory Board voted her work, The Torrents, best play in 1955, alongside Ray Lawler's Summer of the Seventeenth Doll. She wrote a number of stage plays, worked for radio and television, and published an autobiography—Exit Left: Memoirs of a Scarlet Woman (Penguin Books)—in 1985. I want to record our sadness, too, at the death of Glen Tomasetti, singer, song-writer and author. She wrote poetry, articles and reviews, and two novels: Thoroughly Decent People (1976), and Man of Letters (1981). In the Australian Women's Movement she is best known for one of the protest songs that she wrote in the early 1970s; this one, ‘Don't Be Too Polite, Girls’ has often been played as a kind of Women's Movement anthem. As always, I owe thanks to everyone who contributes to this journal—authors, assessors, editorial advisory collective members, review editor Susan Sheridan, assistant editor Mary Lyons, and, for this issue, my very warm thanks to Alison Ravenscroft.     

Working Girls: Femininity and Entrapment in Peyton Place and Valley of the Dolls

Jacqueline Susann's Valley of the Dolls (1966) and Grace Metalious's Peyton Place (1956) are novels that have long exerted a powerful hold on the popular imagination. The bestselling Peyton Place was adapted into a successful film in 1957 before becoming an iconic television series, running from 1964 to 1969. Valley of the Dolls was similarly re-imagined in two films, Valley of the Dolls (1967) and Beyond the Valley of the Dolls (1970), which, even today, retain a cult following. These books are typically remembered for their scandalous bringing to light of such ‘taboo’ issues as adultery, abortion, female sexuality and sexual abuse. But this article suggests that Peyton Place and Valley of the Dolls are equally preoccupied with a sympathetic examination of the role of women in the post-war workplace. In both of these novels, the process of female self-fashioning is integrally related to a woman's entry into the workforce, and to the making and controlling of her own money. But this entry into the male-dominated workforce is inherently fraught with danger, and Metalious and Susann expose some of the myriad ways in which the so-called ‘American Dream’ is contingent on the entrapment, suppression and regulation of various forms of female desire and agency.     

Sex,Biological Functions and Social Norms: A Simple Constructivist Theory of Sex

Feminist theory needs a constructivist account of biological sex for at least two reasons. The first is that as long as female and male are the only two sexes that are taken for granted, being cisgender, heterosexual, and preferably a parent will be the norm, and being intersexed, transgender, bi- or homosexual, infertile or voluntarily childless will be deemed failure. The second is the fact that, usually, sex and gender come together in the way that is expected, i.e. the fact that most females are women and most males are men needs to be explained. This paper provides a constructivist theory of sex, which is that the sex categories depend on norms of reproduction. I argue that, because the sex categories are defined according to the two functions or causal roles in reproduction, and biological function is a teleological concept involving purposes, goals, and values, female and male are normative categories. As there are no norms or values in nature, normative categories are social constructions; hence, female and male are not natural but social categories. Once we understand that biological normativity is social, biological norms of heterosexuality, fertility, and so on are no longer incontestable. In addition, as many gender norms also concern reproduction—socially mediated reproduction—this simple theory of sex explains the common confluence of sex and gender.     

The discursive flexibility of ‘flex crops’: comparing oil palm and jatropha

‘Flex crops’ such as corn, oil palm and soy are understood to have multiple, interchangeable uses; they have material flexibility. We propose that discursive flexibility – the ability to strategically switch between discourses to promote an objective – equally shapes the political economy of flex crops, and thereby patterns of agrarian and environmental change. Comparing oil palm and Jatropha curcas, we find that actors who cast oil palm as a multi-scale solution to food and energy insecurity, climate change and (rural) poverty successfully reinforce its high material flexibility. Jatropha's proponents compensate for low material flexibility by positioning the crop as a ‘sustainable’ energy source that achieves both global and local goals. While this paper focuses on discourses that reinforce the oil palm and jatropha projects, understanding the power of discursive maneuvering can also inform efforts to contest them.     

Anticipated Transition to Adulthood: The Effect of Educational Track,Gender, and Self-Evaluation on Finnish and Polish Adolescents' Future Orientation

In Finland and Poland, a total of 352 (192 boys and 160 girls) 17-year-old general secondary and vocational school students participated in a study investigating their anticipated transition to adulthood. In times of large sociohistorical change in both countries, Finland (economic depression) and Poland (change from socialism to market economy), we investigated to what extent those changes were reflected in the students' probability estimations (for potential goal attainment in three future life domains; education, occupation and family life), generational comparison (attaining a life different from the life of parents), future time extension (for anticipated events in those life domains), and self-evaluations (self-esteem and control over future). The results showed that girls in both countries expressed a higher level of probability for success in education than boys did. As expected, vocational school students in both countries expressed a lower probability of success in future occupation than general secondary school students did. General secondary school students from both countries expressed higher levels of self-esteem and control over future than vocational school students did. Unexpectedly, no differences between boys' and girls' probability estimations for family life were found, in either country. However, girls from both countries anticipated an earlier and more rapid transition to adulthood than boys did, thus reflecting social time tables. The results suggested that the educational track remains a significant stratifying factor in times of societal change in both countries.     

Guys and Dolls

The doll has become a figure for the objectification of women, especially in the form of the sex doll, which is routinely taken to be the image of the woman reduced to a condition of pure passivity. But the doll is also, and perhaps even predominantly, a means of ‘guying’ the putative man (the word ‘guy’ entering English with the burning of Guy Fawkes in effigy) and presenting the simplest possible idea of male desire in comically petrified form. Effigies of women indirectly figure the assumed fixation of male desire throughout post-classical European culture. This guying is a repeated feature of stories of the animation of female dolls and statues, from Ovid onwards, which regularly put male protagonists to a kind of mock death, or death by mockery. The author considers the anonymous poem Adollizing: Or, A Lively Picture of Adoll-Worship (1748) alongside the most celebrated instance of doll fetishism in twentieth-century art history—the doll that Oskar Kokoschka had made of his wife Alma Mahler after she left him. The author concludes with a discussion of the contemporary sexual cult of ‘living dolls’, in which men act out the fantasy not of owning, but being a female doll. Here, perhaps, the doll is not only adored as a substitute for some other real object, but is envied as what it is—that is, as a thing, with a thing's power of declining to be subjected to subjecthood. This passion for passivity suggests that there is something that intervenes between the he and she, with swelling erotic force: the it.     

Working for Change: Projectified Politics and Gender Equality

In this article I argue that the project, a governmental technology that is now widespread and accepted throughout the public sector, is not a neutral tool for implementing policy and conducting politics. Rather, my argument is that this form is intrinsically political in so far as it produces disruptions and sets boundaries for how any given task is to be performed. By mobilizing a set of optical metaphors from feminist theory of difference, I examine organizations that work for gender equality in Swedish regional development and illustrate how the governmental technology of the project reflects, refracts, and diffracts the practices associated with this work. Thus, I argue that if one wishes to understand contemporary gender-equality work, it is reasonable to consider the specific effects that are produced as it passes through the project form. The short empirical illustrations given here indicate, among other things, how the project form functions in some respects as a mirror, and reflects aspects of gender-equality work that are commonly experienced regardless of form or setting, such as encountering resistance. In other respects, the project form refracts gender-equality work, bending it into new directions so that, for instance, securing funds and coming up with new innovative project plans takes precedence over the actual work that respondents feel they should be doing. Finally, the intersection of gender-equality work and the project form also produces diffraction effects, such as the emergence of hybrid consultants. These multi-faceted figures function as evaluators, controllers, activists, and disseminators of knowledge, which makes them simultaneously important to and disdained by the respondents in this study. Thus, it is concluded that the disruptive effects of the project form should be recognized as political and studied more extensively in the future.