Dis-Assembly Lines: gestures,situations, and surveillances

In “Americanism and Fordism,” Antonio Gramsci offers a brief meditation on the gestural performances of assembly-line workers who, rather than become subordinate to the disciplinary flow of the machine, cultivate perfectly timed gestures that allow workers to hide in plain sight: or, in other words, to inhabit the scene of management otherwise. Rather than extend Gramsci's investment in virtuosic, masterful performances of gesture, this article considers the potentiality of gesture through Lucille Ball's and Tehching Hsieh's performances of bad timing. As different as these performances are in terms of genre and historical situation, each uses gesture as a technique to performatively divide the labor process, producing fleeting temporalities of waste within rhythms marshaled toward production and accumulation. While it tracks the effects of these itinerant gestures, this article reconsiders the oppositions between productive and reproductive work, rationality and emotionality, and work and home that sustain Gramsci's theory, as well as how the collapse of such oppositions introduces alternative historical and artistic trajectories into theories of precariousness.     

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

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

Conversations with Lil: A play with Alzheimer's in five scenes and a couple of phone calls

Editors’ note – Elinor Fuchs's family memoir, Making an Exit, the story of her mother Lillian's unusual career and later memory loss, was published in 2005. Since that time Elinor has been invited to speak before many different groups on her experience as a caregiver. On occasion, instead of a talk, she has offered a performance, spliced together from the fragments of conversation she taped with her mother over several years. In these conference performances, Elinor performs both her own words and her mother's, and reads all notes, scene titles, asides, and “stage directions.”     

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.”     

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.     

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.     

“I've always suffered from sirens'’: The cinema vamp and Djuna Barnes’ Nightwood

The most important source for Robin Vote, the heroine of Djuna Barnes’ modernist novel, Nightwood (1936), is the vamp, whose heyday in the middle teens was also the period of Barnes’ highest productivity as a newspaper journalist. The vamp, as full‐grown femme fatale and “wild child,” appeared first in her early feature articles, later in short plays, stories, and poems. These and her stylish pen and ink sketches of vamps established her reputation as a “specialist.” She was one of the first to note that “vamping” was a habit of mind as well as a mode of fashion. Barnes’ interest in both manifestations of the vamp craze powered her conception of Robin Vote, a vamp malgré lui.     

The nonarrival of black freedom (c. 12.6.84)

This article seeks to mark the twentieth anniversary of the publication of Saidiya V. Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America through a series of meditations on questions of time, embodied performance, the political concept of emancipation, and Oliver L. Jackson’s painting, Untitled 12.6.84, which graces the cover of this seminal work. This effort to recall Hartman’s argument regarding the nonevent of emancipation moves in the service of developing an understanding of the nonarrival of black freedom as a conceptual frame for addressing the recursive and untimely dimensions of black self-making. Ultimately, this article argues that Scenes of Subjection allows us to glimpse the making of worlds within the historical archive that fall outside of the normative horizons and expectations of political emancipation. Neither durable nor everlasting, neither verifiable nor guaranteed, such worlds take shape and dissolve within the mysterious rapport between the “could be” and the “not yet” and leave traces on the broken flesh of the black body.     

When Art Does not Represent Life: Nogami Yaeko and the Marriage Question

Nogami Yaeko's (1885–1985) early works “Meian” (1906) and Machiko (1930) critique marriage customs by portraying New Women who challenge the status quo. Yet Nogami is not directly connected with marriage debates or the New Women. To explain this paradox, this article examines these two works, comparing their New Woman heroines with Nogami herself. I argue that it was precisely because Nogami's art did not represent her life that she was able to express her opinions on marriage without attracting the notoriety and unfavorable publicity experienced by those who lived and wrote as New Women.     

Migrant melodrama and the political economy of suffering

This article deploys the term “migrant melodrama” to describe contemporary cultural production that trains a melodramatic imagination on migrants. It argues that migrant melodrama often reconfigures suffering as a necessary step in the progress toward inclusion and belonging. To interrogate this assumption, the article analyzes three prominent examples of migrant melodramas that feature children traveling north across national borders without adult caretakers: the 2006 journalistic narrative Enrique’s Journey: The Story of a Boy’s Dangerous Odyssey to Reunite with His Mother, by Sonia Nazario; a 2009 HBO documentary film inspired by Nazario’s book, Which Way Home, directed by Rebecca Cammisa; and the 2007 fictional film Under the Same Moon, directed by Patricia Riggen. The article proposes that migrant melodrama plays a role in the commodification and circulation of undocumented migrant suffering in a global market, a phenomenon that the author terms “the political economy of suffering.” Performances of suffering can be exchanged in the political economy of suffering for any number of privileges, from a handout to a visa, and are linked to major international economic and political decisions, such as migration policies that regulate human mobility across nation-state borders. The political economy of suffering is a web of transactions in which performances of undocumented migrant suffering are exchanged in attempts to promote empathy, tolerance of mobility, and respect for migrant human rights. In different ways, all three of the works analyzed accept the underlying logic of the political economy of suffering.     

Black organs and optics: gazing at viscera in the work of Doreen Garner

Between Doreen Garner’s performance The Observatory and sculpture Black Ocean/Big Black, a significant divergence in gazes and spaces emerges. On the one hand, The Observatory arguably evokes a metaphorical nexus between body, flesh, organs, and land – a move that integrates archaeological and clinical gazes into a black female optic of pleasure wherein an oppositional gaze disidentifies the theatrical and scopophilic framing of black women’s bodies. The author argues that while Garner’s vitrine-enclosed performances, which elicit several gazes at once, signify a geological position and attempt to exhume the gory archives of black women’s bodies in art and science, her sculptural installation Black Ocean signals a queer liquidation and kinetics of black flesh.     

Sexting girls: technological sovereignty and the digital

This essay explores the contemporary fact of girls sexting. Instead of theoretically granting girls a form of technological sovereignty while sexting as sexual empowerment, it pauses to take a selfie of the adult subjects – parents, educators, and sex-positive feminists and queers – attached to this form of agency for girls. If sexuality remains an alluring reparative trap by offering, through a reverse discourse sustained by the plasticity of girlish whiteness, a way of transforming girls as objects into subjects, this essay problematizes that gesture as a racially normative one, reading it further alongside the relation of technology to sexual difference. To speculate on how the scenography of sexting could be seen differently by adults, this essay suspends the search for authentic meaning and knowledge, following an intuition that we cannot presently see anything behind the image of the sext. After examining how criminal law breaks the tension in the definition of “the girl” between vulnerability and agency by extending objectification through child-pornography law, the essay takes a speculative turn with feminist readings of the question of modern technology to consider the analytic and pedagogical purchase of the non-sovereignty of the girl who sexts.     

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.     

The Artist is Present: performing the icon

This article considers the work of performance artist Marina Abramovi?, focusing on the use of reperformance, the practice of hiring others to recreate historical performance works, in her 2010 retrospective at New York's Museum of Modern Art, The Artist is Present. Brawner utilizes Abramovi?'s artistic work with iconography and icon making and draws on her own experience as one of the retrospective's reperformers to highlight both the affective work that went into the creation of the show as well as its function as a religiously inflected meditation of celebrity and art stardom. The artist's work is explored through sources including New York Times art critic Holland Carter's turn of phrase “diva hokum,” a pejorative here reclaimed to mean the process of one's own icon making, a control of image and message that becomes integral to the structure of the work, and a balancing act between the performance and its afterlife.     

Challenging the Biological: The Fantasy of Male Birth as a Nineteenth-Century Narrative of Ethical Failure

In Jane Eyre, Charlotte Brontë portrays a fully realized heroine who challenges society's and fiction's conventional roles for women. In order to broaden her heroine's role, Brontë had to go beyond the genres open to her — the novel of manners, the Gothic, and the governess novel — to establish a new genre: the feminist fairytale. In establishing this genre, Brontë pinpoints Jane's specifically female dilemma: how to achieve intimacy and still maintain independence.

At once beautiful and terrible, sustaining and destructive, fire is the perfect element to convey a sense of Jane's often conflicting desires. Brontë carefully establishes hearth fires as an index to how included and “at home” Jane feels. Similarly, Brontë uses metaphors of self‐sacrifice and immolation to indicate times when Jane feels her independence is being threatened.

The hearth fires and the metaphorical fires are overshadowed by the “big” fires in the novel, but their consistent, unobtrusive use allows Brontë to reinforce her theme in the simple details of the story and to maintain an attention to craft that is too often undervalued or ignored.     

How to live precariously: Lygia Clark's Caminhando and Tropicalism in 1960s Brazil

Economic booms and busts, major social upheavals, brutal military dictatorships: precariousness has been a feature of everyday life in Latin America since its independence. But what does it mean to “propose precariousness as a new idea of existence,” as Brazilian artist Lygia Clark did in 1966? This essay focuses on one specific work by Clark, her 1963 Caminhando, in order to explore the ways in which the very status of performative practices can respond to their social and political conditions and thus offer a model for a subjective experience of precariousness in everyday life. A close study of the process that led Clark to create precarious works will be further supplemented by a contextual analysis of debates about precariousness and adversity within the Tropicalist movement that emerged in late-1960s Brazil, which included artist Hélio Oiticica as well as singers and film-makers.     

Queening it: Women's taste for jewelry excesses in post‐war Britain

In “Dahil Sa Iyo: The Performative Power of Imelda's Song,” Christine Bacareza Balance articulates the role of musical performance in the shaping of the “spectacular politics” of the former Philippine first lady. The article argues against depoliticized aesthetic and critical practices that attempt to separate art from politics. Instead, the article suggests that it was the deployment of musical art forms in Marcos’ performance of self that could bolster the execution of the Marcos’ political agenda, characterized by corruption, extra-juridical violence, and human rights abuse. Thus, the article concludes with a turn to artistic renderings of Marcos, arguing that such performances map the relationship between US imperialism, Filipino history, and the intimate sphere of Filipino America.     

‘A sort of Rathmines version of a Dior design’: Maeve Brennan,Self-Fashioning and the Uses of Style

This article explores the politics of style in the writing of Maeve Brennan. Brennan's concern with style, subjectivity and power is strikingly visible in her short stories and ‘Talk of the Town’ essays for the New Yorker. While in some of her short stories published in the New Yorker in the 1950s, Brennan seems to offer an extended critique of dandyism, elsewhere in her writing self-fashioning takes on an altogether more positive value and is steeped in the political as well as literary commitments of her work. The article argues that Brennan's interest in the politics of style, both personally and in her writing, is informed by the different strategies she deployed as an Irish woman writer establishing her place amongst a New York literary elite in the mid twentieth century.     

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.     

Authenticity of self‐expression: Reinterpretation of female independence through the writings of simone de beauvoir

Based on the autobiographical writings of Simone de Beauvoir, this paper reinterprets the concepts of “dependency” and “independence” with respect to women's experiences. De Beauvoir, considered a strong and independent woman, continuously struggled for emotional independence, a struggle which she conceived as being against the need that drove her “impetuously toward another person”. However, a careful examination of de Beauvoir's inner voice as it is reflected in the subtext of her autobiographical writings, suggests that her true struggle revolves around a desire for authentic expression of her feelings and needs — rather than for separation from others.

As an adolescent de Beauvoir was caught between the expectations of her parents and her own needs, remaining the “dutiful daughter” at the expense of being false to her own self. This pattern of dependency reappears in her adult life, when she seems to be incapable of validating her feelings of jealousy and anger in her relationship with Sartre. Her means of coping with this problem is by giving it a literary expression, hence, she seems to gain a sense of freedom and independence by giving her repressed feelings an authentic outlet.

The re‐reading of de Beauvoir's autobiography in a new light of feminist criticism reveals a concept of dependency different from the need to rely on, receive help from, and be influenced by another. When one examines the meanings of dependency and independence through the female language of connectedness and women's values of care and involvement, the essential meaning of dependency shifts from the lack of self‐reliance to suppression of self‐expression, and from struggles for separation to struggles for one's personal truth and for authenticity in one's relations with others.