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.”     

Mythical enjambment in The Hungry Woman: nation,desire, and Cherríe Moraga’s utopic turn

In her play The Hungry Woman: A Mexican Medea (2001), Cherríe Moraga makes use of a technique I call “mythical enjambment”: the insertion of a myth, story, or cultural context into another where it “doesn’t belong,” a willful act of making the unexpected out of the expected. Moraga utilizes mythical enjambment to illuminate how mythologies become entrenched and perpetuate harmful ideologies. Interrupting the traditional aesthetics of Western theater by drawing attention to the ways queer women of color are erased from the narrative, Moraga also challenges the absence of queer women of color from the Chicano movement by embedding her play within some of the most dearly held myths of Chicana/o culture. Ultimately, the use of mythical enjambment gestures toward the utopic and revolutionary potential of theater. The Hungry Woman shatters myths on multiple, intersectional levels: from the critical gaze of interpretive authority to the myths that cohere Chicana/o identity along masculinist and heterosexist lines.     

Pulses from the multitude: virtuosity and black feminist discourse

Using a dialogic format this conversation between two authors uses political theorist Paolo Virno's conception of the “multitude” to examine and compare two different arenas of black feminist protest that took place on social media in the latter half of 2013. As a performative article, it offers historical and theoretical background to the terms “multitude,” “public intellect,” and “virtuosic labor” in racialized capitalist formations, situating them to provide an alternative to the power of the State – an alternative that unlike the State does not claim to confer rights. The article looks at the Facebook response to a call from the Crunk Feminist Collective to white feminists to speak out on the verdict exonerating Trayvon Martin’s killer and offer counter images to those that describe Martin's killing as justified. It then looks at the public dialogue around the applicability of the term “feminism” to Beyoncé's self-titled “visual album.” Through aesthetic inquiry, the authors look at the form these examples of protest take to situate and propose the active viewing of these aesthetic forms by others on social media, as well as by the authors of this article, as a kind of virtuosic labor. The article concludes with a series of poems created using the “cut-up” technique designed to transmit feeling through subjective action and a task manifesto for white feminists to use as a guide.     

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.     

Ma Rainey’s phonograph

This essay engages a series of performance routines by the blues artist Gertrude “Ma” Rainey, as a way of critiquing the epistemological tenets of sound reproduction technology. Between 1923 and 1925 Gertrude “Ma” Rainey carried out an elaborate quasi-burlesque performance routine in which she sang while hidden inside a giant phonograph; this routine precisely references and troubles the legacy of black sounds and bodies and their conflicted forms of capture andembodiment through sonic technologies. I think about how black sounds and bodies have been rendered as documentary objects within sonic and visual performance contexts and how this history is both referenced and complicated in Ma Rainey’s performances. I argue further that Rainey’s performance illustrates how sonic technologies always require, what I term black documentary embodiment, through the sonic and the visual. To this end I illustrate how reducing black art to an evidentiary object was central to the phonograph’s material and epistemological construction. In addition to analyzing Rainey’s performance I briefly engage the contemporaneous visual culture of the blues as a means to trace the legacy of black documentary embodiment within a longer visual-sonic tradition.     

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.     

Attention under repair: asceticism from self-care to care of the self

This essay examines the contemporary mindfulness movement as a cultural response to a larger problem of attention in the United States. As raw material for both capital (re)production and subjectivity, attention is a zone of indeterminacy and struggle for workers in a so-called immaterial economy. This essay suggests that the rise of concern around “paying attention” from the 1950s onward is driven by post-Fordist labor requirements more than networked technologies. First, it examines mindfulness as a technique of attention management for businesses and gives a broad survey of its current popularity and prevalence in US culture. Second, it proposes viewing techniques of attention like mindfulness through a triple lens of repair: (1) as managerial tools to repair psychic labor capacity for capital; (2) as practices that subjects use to repair alienation; and (3) as sites for reparative reading. Third, the essay illuminates the ties between Eve Sedgwick’s repair and Michel Foucault’s care of the self in order to suggest that resistance to practicing the self is founded on a paranoid defense. Its central argument is that attention is a method in Foucault's care of the self, and, as such, a potential portal into pleasure and political change rather than a mere feedback loop into capital.     

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.     

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.     

Double Melancholy: The (Class) Politics of Loss in Jeanette Winterson’s Why Be Happy When You Could Be Normal?

In his essay ‘The “Uncanny”’, Sigmund Freud claims that ‘the double was originally an insurance against the extinction of the self’. The author suggests that literary writing, particularly memoir, can perform a kind of doubling, enacting this ‘self-preservation’ through ‘self-observation’. In her memoir Why Be Happy When You Can Be Normal?, Jeannette Winterson seeks to convey a ‘doubleness at the heart of things’. The author argues that this ‘doubleness’ functions on two levels, both of narrative and of politics—Winterson’s preoccupation with her subjectivity is informed by politics and her politics are structured around her subjectivity. In order to think through the text’s focus on what the author deems maternal melancholy and ambivalence, the author considers how political melancholy works through and against Winterson’s desires for self-creation. Attending to the themes of writing, loss, adoption and depression throughout, the author sustains a class analysis that is motivated by a queer feminist approach. The author argues that the text works to recall the poor/working-class body into the narrative of the bourgeois subject in order to legitimate the present self—the double—both as exceptional and as different from the other.     

Sweden’s Burka Ban: Policy Proposals,Problematisations, and the Production of Swedishness

ABSTRACT

Between February 2002 and November 2018, Swedish politicians from the Centre, Christian Democrat, Moderate, Liberal and Sweden Democrat parties proposed policies to ban clothing variously referred to as the “burka,” “full-covering veil,” “face veil” and “niqab” (Arabic for face veil) at least 38 times, six at the national level and thirty-two at the municipal. Research suggests that circa 100 women in Sweden wear a “burka”; clearly these policy proposals have little to do with the burka’s prevalence. What, then, do these policy proposals attempt to govern? In this text we adopt feminist political scientist Carol Bacchi’s “what is the problem represented to be?” approach to analyse Swedish bills to regulate the burka. These policy proposals, we contend, have more to do with conceptualizing Swedishness than addressing an existing “problem” of women who wear burka.     

Performance's mode of reproduction I: searching for Danh Võ’s mother

This essay returns to key debates in performance theory regarding the relationship between performance and reproduction, offering a Marxian inflected theory of performance’s mode of reproduction. It suggests that both performance theory and Marxist theory appropriate the mother function in describing performance’s mode of reproduction and the reproduction of capital, while displacing the mother in the process. Through a reading of the work of contemporary artist Danh Võ, the essay explores how performance’s mode of reproduction can affect the reproduction and sustenance of minoritarian life against historical, social, and economic forces of elision, erasure, and annihilation.     

“It Is So Swedish That You Have to Work”. Returning Swedish Migrant Women’s Negotiations of Gender Equality and Heterosexuality

Notions of gender equality are strongly linked to the Swedish self-image. This article explores returning Swedish migrant women’s negotiations of heterosexual gender equality ideals based on their experiences of being housewives to middle- and upper-class men with work contracts abroad. From fieldwork conducted within two networks for returning Swedes, the article provides an analysis of the ways in which the women talk about work, gender equality, and domestic workers.

The analysis of the women’s accounts of gender relations shows that different ways of doing femininity are central in their narratives. By using the concepts “emphasized femininity” and “gender-equal femininity” the article highlights the different forms of femininity that can be traced in the women’s narratives. Drawing from the empirical examples, it is shown that the women are troubled by Swedish gender equality ideals and express a feeling of not “fitting in” after returning to Sweden. I suggest that the women’s articulations of not “fitting in” to (imagined) gender-equal Sweden tend to downplay the fact that they still have advantages that assist with “fitting in” from social positions such as class, whiteness, and (hetero)sexuality: positions which may create space for negotiating social norms in Sweden.     

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).     

From “Non-governmental Organizing” to “Outer-system”—Feminism and Feminist Resistance in Post-2000 China

ABSTRACT

In post-2000 China, both the frontiers and the landscape of feminism and feminist resistance have changed, and this change embodies a move away from the “non-governmental organizing” path that characterized the development of feminism during the 1980s and 1990s. This article addresses this “paradigm shift” in Chinese feminism by examining the “outer-system” political stand of post-2000 feminism and their domains of action through performance art, philanthropic volunteerism, and cyberfeminist articulations. These novel modes of feminist protest in the absence of a formal organizational structure challenge our understanding of feminism as a process of “non-governmental organizing” in public space and warrant a cultural analysis to shed light on how feminism engages in cultural contestation and subversion, often in semiprivate and semipublic spaces, in order to develop new and alternative cultural patterns and interpretive frames.

Abbreviations CPPCC The Chinese People’s Political Consultative Conference WF The All-China Women’s Federation     

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.     

Couplets

“Couplets” moves back and forth, swapping thought images, turns of phrase and story lines conjured up to get inside the machine and spread of a thing. Curiosity is a thought muscle throwing weight against fake foundations. The airs of a day make rhythm promises and labor demands. Paying attention is a starting point but no guarantee when there’s no floor. Things are happening.     

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.”     

The young carer penalty: Exploring the costs of caregiving among a sample of Canadian youth

This research contributes a first-hand account of the experiences of youth’s substantial unpaid familial caregiving in the context of long-term illness, disability or problems related to alcohol and/or other drugs. A qualitative focus group methodology explored the benefits and challenges of youth’s caregiving via a sample of 15 youth caregivers (or young carers) from both the Greater Toronto area and the Niagara Region of Southern Ontario. The findings reveal evidence for a unique “young carer penalty,” a term coined by this research to build upon the gendered “care penalty” experienced by adult women (especially mothers) when performing care work.     

Passport to Parenthood: Reproductive Pathways In and Out of Denmark

Denmark has become a destination for single women, lesbians, and heterosexual couples wanting donated sperm. At the moment, women from Sweden, Norway, Germany, Italy, and the UK travel to Denmark. Simultaneously, waiting lists for donated eggs and age restrictions are prime motivations for infertile Danish women and heterosexual couples to leave Denmark and travel to Spain, the Czech Republic, the Ukraine, and Greece for egg donation. Informed by Donna Haraway’s notion of “the apparatus of bodily production”, Marcia Inhorn’s development of “reproductive flows”, and the use of Adele Clarke’s “situational analysis”, this paper explores the question: How do global reproductive pathways in and out of Denmark emerge when fertility travellers narrate, negotiate, and cross national borders to go through fertility treatment? Methodologically, we use a multi-sited and multi-modal approach centring on interviews with fertility travellers moving to and from Denmark in combination with ethnographic observations carried out in Danish and Spanish fertility clinics and an analysis of legal regulations. The paper concludes by discussing how the concept of reproductive pathways helps to theorize transnational movements of bodies and contributes to feminist scholarship on transnational reproductive travel.