She's old enough to be a beautiful young boy: Sarah Bernhardt,breeches roles and the poetics of aging

This essay argues that Sarah Bernhardt's choice to play young male roles late in her career served as a radically anti-agist feminist response to the limiting and often demeaning professional and social opportunities afforded aging women. While scholarship has attended to Bernhardt's cross-dress roles through the lens of gender, this essay highlights her “breeches” roles, in particular Hamlet and L’Aiglon as cross-age and cross-gender. By examining “aging” as the contextual mode by which gender functioned, we open up new terrain with which to examine and appreciate Bernhardt's significance in the scope of theatre history, women's history and aging studies. In the title roles of Hamlet and L’Aiglon, Berhnardt assumed youth and male-ness on stage, which both highlighted her offstage socially perceived deficits (aged and female) and challenged the designation of those identities as deficient; performance threw into flux what had been assumed static. And the public responded. Far from honoring the assumed cultural hetero-normative contract that aging women acquiesce public visibility, Bernhardt's breeches roles (re)constructed her body as female (from aging/sexless) and demanded audience members’, male and female, desiring gaze.     

“The tender mother”: The social construction of motherhood and the lady's magazine

My aim in this essay is to explore the politics of one of the seemingly least political forms of literature, the woman's magazine. Specifically, I will analyze the ideological content of the Lady's Magazine, one of the most popular and profitable of British monthly miscellanies in the late eighteenth and early nineteenth‐centuries.¹ In this essay I will explore the role the Lady's Magazine played in the development of the idea of the “tender mother,” a concept which was key in the formation of the cult of domesticity and in the development of the ideology of “woman's sphere” as a realm distinct and separate from the man's world of work.²An underlying assumption informing this essay is that the concept of motherhood was (and still is) culturally constituted,³ and that literature, including popular literature found in magazines, has played an important role in this process.⁴ In the Lady's Magazine's portrayal of motherhood we can see one of the means by which the ideology of motherhood, in particular, the concept of the tender mother, was created, legitimated, and perpetuated.⁵     

Lessons from “Around the world with Oprah”: Neoliberalism,race, and the (geo)politics of beauty

On 6 October 2004, viewers went “Around the world with Oprah” and received a rare glimpse inside the lives of 30-year-old women from 17 different countries. When Oprah turned her gaze (and that of middle-class American housewives) eastward, she highlighted South Korean women's penchart for plastic surgery. Oprah's “trip” to South Korea is emblematic of Western discourse surrounding South Korean Women's plastic surgery consumption, most of which focuses on cosmetic eyelid surgery or the sangapul procedure as it is called in South Korea. Given its widespread popularity, the sangapul procedure has come to signify South Korean women's acquiescence to not only patriarchal oppression but racial oppression as well. This essay goes beyond the psychologization of South Korean women in order to ask what such psychological musings obscure about the very political nature of beauty itself. Using “Around the world with Oprah” as a starting point, then, this essay examines beauty at the intersection of race, technology, and (geo)politics in order to show that, in an era of neoliberalism, plastic surgery is often rationalized as an investment in the self towards a more normal, if not better future. As this essay suggests, such a framing of plastic surgery is contingent on Oprah's production of neoliberal feminism based on liberal notions of choice. Given her global reach, these neoliberal feminist subjects are not produced equally, however, but are discursively constructed along a First World/Third World divide.     

Inside the Home: Power and Negotiation in Filipina-Japanese Marriages

This essay examines the personal accounts of married Filipina-Japanese couples living in urban Japan to show how the women negotiate power and influence over their husbands. Centering on Filipino ideas about power and “America,” the article draws on various ethnographic vignettes that illuminate the Filipinas' cultural knowledge. By negotiating their relationships, Filipinas' marriages to Japanese emerge as ongoing processes rather than as a static institution in which the women are simply (oppressed) gender-role performers. While these women's struggles are not denied, their actions engender possibilities for the subversion of existing gender-national hierarchies. Belle faced Kawai. “I can't marry you.…I was raped by the son of a powerful man in my hometown. I'm no longer a virgin…” In tears, “Will you still marry me?” Kawai assured her firmly, “It doesn't matter.”     

Judith Scott’s What is Property?: an inquiry into principles of dependency,propriety, and self-possession of an “outsider” artist

The essay addresses the politics of biography in the interpretation and reception of “outsider artist” Judith Scott’s work. Drawing from feminism, disability studies, and Alexander Kluge and Oskar Negt’s History and Obstinacy (1981) and its political economy of labor power, the essay proposes a new method of analysis which would foreground Scott’s work as a mode of institutional critique. Kluge and Negt ask “Can capital say ‘I’?.” The essay argues that Scott’s work compels a concomitant questioning of this “I” and the very terms of biography, authorship, and ownership that undergird the myths – and the institutions – of the “outsider” and her “art.”     

Reflective Interplay Between Self and Other: Textual/Sexual Space and the Cultural Meanings of AIDS in Hervé Guibert's To the Friend Who Did Not Save My Life

The article considers how the temporal distance has affected the cultural meanings of AIDS from the 1980s to the first decade of the twenty‐first century. It investigates the literary forms of the AIDS novel/autobiography, focusing on Hervé Guibert's novel To the Friend Who Did Not Save My Life (orig. A l'ami qui ne m'a pas sauvé la vie). Hervé Guibert (1955–1991) was France's leading AIDS novelist and photographer; he wrote a series of autobiographical novels following his own diagnosis in the late 1980s. Through a reading of the novel, the article shows how the connection between time and space (reflected through the concept of queer space) undermines the conventional narrator‐author relationship and extends the limits of normative autobiographical/fictional writing. The analysis also focuses thematically on the mental and physical social spaces available for sexually non‐normative victims of the AIDS epidemic. The article explores the role played by representations of queer spaces in the process of resisting the norms of both sexuality and textuality. In so doing, I argue that new reparative meanings and interpretations of this once highly “stigmatized sexual past” can be found, in relation both to the discussion of queer theories and to public reconsiderations of the cultural memories of the AIDS era.     

Surpassing the word: Aileen Wuornos

This article explores the dynamics of Richard Move's drag performance of the late Martha Graham. Drag dance is remarkably self-aware as historiography, and it employs a rhetoric of bodies becoming other bodies: channeling, paying homage, re-embodying, reliving, being possessed. This article argues that drag dance has a historical project for dance history; specifically, that drag bodies can become a new medium through which aesthetic/kinetic histories are transmitted. In the case of Richard Move, the exaggeration and excess of the ageing Martha Graham become modalities that align with the ‘wrongness’ of his body. This is drag dance as a strategy of re-embodiment after the original body has been lost, and Richard Move presents his performance as a ‘haunting,’ much like the feeling Martha Graham describes as the result of a dancer's “first death,” when she watches someone else dance a role she had originated. Ballets like Graham's Lamentation and Cave of the Heart give Move the opportunity to portray Graham's struggle to continue to dance after this “first death,” using drag as a strategy to show up the eerie perfection of voice against the hollowness of the ageing dancer's body. Combining vaudeville and séance, moving from the restless gay “underworld” of the Meatpacking District to the right to presume himself the heir to the mother of modern dance, Richard Move first embodies and then moves beyond Susan Sontag's camp “etc etc” of Graham's self-performance.     

Tale of Transgression: Charlie and the Representation of Female Homosexuality in Interwar Sweden

The first Swedish novel with a female homosexual protagonist, Charlie, was published in 1932, and this essay focuses on an analysis of three topoi in it, namely “the unveiling of a secret”, “the triangle of desire”, and “the scene at the mirror”. These topoi correspond to prevalent cultural representations of female homosexuality in the interwar period, under the headings of the three Ms: Masculinity, Mothering, and Mirrors, respectively. The main points of reference in the analysis are taken from sexology, psychoanalysis, and Radclyffe Hall's novel The Well of Loneliness, but it is argued that the narrative of Charlie transcends the restraining categories and normative classifications it presents.     

The Personal is Work is Political is Theoretical: Continuities and Discontinuities in Women's Studies, (Pro)feminism, “Men” and My Selves

This essay reflects on some specific questions posed by the organizers of the Past, Present, Future conference held at Umeå University, Sweden, in June 2007 to the keynote speakers on their personal experiences of the influences, inspirations, challenges, and problems in and around Women's/Gender Studies over the last 30 years. It extends the notion of “the personal is political” to: the personal is work is political is theoretical. It also critically reflects on continuities and discontinuities in women's studies, (pro)feminism, “men” and my selves. Four kinds of (spheres of) activity and experience (the personal, work, the political, the theoretical) are considered in relation to four social spaces, social sites, or social institutional formations (in this context, primarily: selves, “men”, feminism/profeminism, women's/gender studies).     

Nicki-aesthetics: the camp performance of Nicki Minaj

In this essay, the author contends that Nicki Minaj practices what he terms nicki-aesthetics, a form of black performance art that employs an extravagant theatricality and a vivid, intensely hued style. Nicki-aesthetics shares qualities with the sensibility of camp, as outlined in Susan Sontag's 1964 article “Notes on ‘Camp,’” yet challenges camp's assumed association with white gay men as well as its reduction of women to objects (rather than subjects) within the camp universe. Nicki-aesthetics realigns blackness and camp as mutually constitutive (rather than oppositional) forms, while reconfiguring camp as a black female-centered practice. In addition, Nicki Minaj demonstrates her dexterity at performing nicki-aesthetics in an offbeat interview on Elle magazine's website while deploying avatars to play multiple roles. In doing so, nicki-aesthetics' quirky blend of artifice and alterity ultimately rebukes hip-hop's obsession with authenticity.     

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.     

Jesusa Rodriguez: An inconvenient woman

For the symposium “Where Is Ana Mendieta,” I discussed and projected PowerPoint images, starting with my 1963 Eye Body – 36 Transformative Actions as a precedent for the explicit, artist body as both image and image-maker. This work, as well as Body Collage, Water Light/Water Needle and Meat Joy, provided a practice for Ana's intensive submersion with her body as subject. Images of our parallel affinities within natural forms and materials were shown, establishing our urgent permissions to regard the sensory, psychic realms in which our bodies manifested energy against cultural constrictions and prohibitions. Also shown was my homage Hand/Heart for Ana Mendieta inspired by a dream instruction sent by Ana shortly after her death.     

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.     

En-Gendering the Sublime: Aesthetics and Politics in the Eighteenth Century

In this essay I expand on the analysis of the en-gendered sublime, an aesthetic concept of political consequence used in the eighteenth century. In a discussion of the initial phase of modern aesthetics I will present Immanuel Kant's opinions on the sublime's ennobling effect as having solely male connotations. This, I argue, became an important part of the construction of a new notion of citizenship on the basis of nationality and as an exclusively male domain. Furthermore, I will claim that conceptions of the “bad” sublime, as expressed by thinkers such as Edmund Burke, made up another side of this ennobling sublimity coin, which was the politically provocative defined in female terms. Aesthetics has obviously walked hand-in-hand with politics ever since Plato's Republic, and the concept of the sublime only make up a small part of this complex union—but undeniably a rather interesting one.     

The Gothic,the Death Drive and Angela Carter

Abstract

This essay situates Angela Carter's The Bloody Chamber and Other Stories (1979) in a 1970s era in which a feminist reclaiming of various things—the streets, the night, as well as fairy tales—is the order of the day. It examines the complex nature of Carter's status, in this context, as a controversial writer. Is Carter a writer who contests or colludes with the forms of reality presented in and by her fiction? This question may be seen as framing the main debate about Carter as a ‘problematic’ or ‘polarizing’ figure. The different sides of this argument are assessed in this essay. From reading ‘The Bloody Chamber’ as an exemplary reworking of the Gothic, and itself one of Carter's fictions of the death drive, the essay reaches a clear conclusion of its own regarding the vexed contest/collude dimension of Carter's storytelling.     

Oprah Winfrey and the co-production of market and morality

This essay introduces the dossier, situating Lizzie Borden's 1983 film Born in Flames in the contemporary political context. After offering a brief synopsis of the film, the essay argues that Born in Flames serves as both a document of feminist, anti-racist social movements and as inspiration for modeling future political work. The essay then briefly introduces the pieces that comprise the dossier.     

Sentinels for New South Industry: Booker T. Washington,Industrial Accommodation and Black Workers in the Jim Crow South

In 1912, “race war” broke out in Cuba. The island's hard-won independence, formally attained in 1902, had failed to deliver the “nation for all” that nationalist visionary Jose Marti and his largely black and mulatto following had aspired to. Instead white Cuban elites attempted to emulate the standards of “civilization” laid down by their North American counterparts, laying the foundations for a society in which blacks and mulattoes remained second-class citizens. Afro-Cuban war veterans, outraged at the government's failure to reward their sacrifices over many years, organized the Partido Independiente de Color, demanded their “rightful share” to the fruits of independence, and in 1912 led an armed revolt that was brutally suppressed by the US-backed government, at a cost of more than 3000 lives.     

Butches and nomads: The dynamic imperative in feminist theory

Abstract

In this essay, a critique on the blatant dynamic imperative in contemporary feminist theory is presented. In Judith Butler's Gender Trouble (1990) and Rosi Braidotti's Nomadic Subjects (1994), the theoreticians project a feminist subject of heroic proportions: dynamic, active and subversive. Theoretically, this dynamism can be traced back to Nietzsche's tragic thinking. But what has become of Nietzsche's meditation on death, decay and destruction as necessary preconditions for any creative thinking? By insisting on frantic activity as a strategy to effect sexual difference, Butler and Braidotti have foreclosed the possibility for passivity, receptivity and silence as alternative strategies to think this crucial question.     

Texting girls: images,sounds, and words in neoliberal cultures of femininity

This introductory essay provides an overview of the arguments and premises of this special issue, Texting Girls: Images, Sounds, and Words in Neoliberal Cultures of Femininity. Situated within the recent historical conjuncture in which “girls” (and all that is suggested by the term) have an unprecedented cultural visibility, the essay argues that the figure of the girl is coerced into performing forms of symbolic work within neoliberalism that displaces and contains the corrosive effects of capitalism unbound. Drawing from recent work in Girl Studies and Feminist Theory, the introduction demonstrates that this work relies upon a long-standing conflation of girls and commodification, which supports “girlphobic” constructions in both pro-capitalist stances and anti-capitalist critiques.