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.     

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.”     

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.     

Youth-Guided Youth Engagement: Participatory Action Research (PAR) With High-Risk,Marginalized Youth

Engaging youth who live with high-risk, marginalized conditions presents a significant challenge in our society, considering the prevalence of disconnect and distrust they often experience within their social environments/systems. Yet, meaningful youth engagement is a key concept not only for youth development, but also for a systems change to more effectively support high-risk youth and families. This article presents a framework of youth engagement developed over 9 months, using participatory action research (PAR) with 16 youth leaders in a community-based research team. Although this framework has incorporated the youth leaders’ lived experiences, talents, and voices, positive youth development (PYD) and social justice youth development (SJYD) have theoretically contextualized our research. Youth leaders guided the framework's development, including the identification of key themes/dimensions, definitions, and practical examples. The framework's three components—“Basis” (philosophy and principles), “What” (goals/outcomes), and “How” (actions/processes/pathways to change)—are supported by nine themes described in this article.     

Using “The gun act”: Federal regulation and the politics of the strike threat during World War I

This study examines the working-class custom of “can rushing,” a.k.a. “rushing the growler,” which was the common saloon-era practice of carrying alcohol (usually beer) from a saloon in a pail for consumption elsewhere. The ubiquitous saloon served as one of the most contentious spaces between the middle class and a burgeoning working class during the Gilded Age/Progressive Era, and reformers attacked it as a blight on their communities and working-class drinking customs as a threat to a moral and orderly society. Reformers' efforts to restrict can rushing was part of a larger effort to impose middle-class control over workers' leisure activities and their parental prerogatives. For much of the working class the saloon and the cultural mores that surrounded it were a mainstay of their culture. While men were the primary customers of the saloon's interior, “rushing the growler” turned women and children into saloon customers as well. Reformers portrayed this practice as the lowest form of saloon patronage for men, while at the same time arguing that it was a dire threat to the moral welfare of women and children. Much of the working class, however, viewed this practice as an efficient and economical way to consume alcohol in the workplace, on the street, and in the home. This study will consider how the struggle over can rushing politicized this cherished working-class leisure activity.     

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.     

Equality versus difference and gender versus class in Danish women's history

The articulated goals of feminist research and politics in Denmark have been changing during the last twenty years, from “liberation” to “equality” and now perhaps to “difference”. Open theoretical debates on these changes have been rare in the Danish context, but the need for such debates has been made topical by the latest theoretical and political discourses in Denmark on equality and difference, gender and class. The American feminist historian Joan W. Scott has shown the detrimental effects to feminist research and politics of constructing the concepts of equality and difference as binary oppositions. She argues that women's equality with men could be claimed on the basis of sameness/ similarity as well as on the basis of difference. The same detrimental effects occur, however, when sameness/similarity and difference, gender and class, are constructed dichotomously. The history of the women's movements in Denmark around the turn of the century shows that some women have tried to avoid such dichotomies. Other women have contributed to them, however, and their arguments have been sustained by the hegemonic discourses of the time. Women's history research is part of competing discourses on gender. It may have political impact on the gender relations of today. Therefore, an important purpose of feminist history is to expose the way dichotomous discourses act against feminist goals, and to avoid making such discourses part of one's own theoretical framework.     

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.     

Nordic women's documentation centres

The Norwegian au pair documentaries Mammaranet (“The Mummy Robbery”) (2006) and Herskap og tenarar (“Masters and Servants”) (2013) tell the stories of two Filipina women who have left behind their children to become au pairs in Norway. The films portray the hardship of au pairing and focus on trafficking and labour and sexual abuse. Both films are problem-orientated, and I explore the way in which they construct the figure of the au pair. I argue that the films draw on a global care chain framework to construct au pairs as mothers who are primarily financially motivated, while their children in the home country are cast as self-evidently suffering. Furthermore, the films cross-cut between stories of sexual abuse and scenes of the au pairs' highly feminized self-presentation. This cross-cutting contributes to a construction of the au pairs as vulnerable “girls”, but also as sexually available women. Using Bhattacharyya's concept of “the exotic”, I argue that this particular construction draws on a colonial discourse that makes unequal racialized power relations appear more attractive to the privileged. In conclusion, I discuss the implicit solutions to the problems presented in the films, and argue that their constructions of au pairs contribute to a certain cultural circulation of “truths” that allows for discourses favouring certain policies—namely closing the scheme to mothers and, eventually, to all au pairs from outside the EU/Schengen Area.     

Popular Sexual Knowledges and Women's Agency in 1920s England: Marie Stopes's Married Love and E.M. Hull's The Sheik

This article examines popular discourses of women's sexuality in 1920s England and argues that sex manuals like Marie Stopes's Married Life and sex novels like E.M. Hull's The Sheik, despite their adherence to status quo values, were liberating for women through their affirmation of women's sexual subjectivity. Stopes's enormously popular book contributed strongly to a new understanding of women's sexual drives as natural and autonomous. The changing attitudes were reflected in the numbers of postwar women who actively participated in the creation and consumption of popular sex-novels and films, exercising both economic and sexual freedoms at once. This article focusses on the film version of The Sheik, which experienced great success as part of this growing leisure market catering specifically to women's desire, and in particular on the figure of Rudolph Valentino as a “woman-made” man. The film's “crossed” representations of sexuality (the emancipated “flapper” and the effeminate yet virile “sheik”) challenged traditional notions of femininity and masculinity, and in doing so, were liberating for women consumers at the same time that they threatened the sexual identities of men.     

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.     

The suffragist and the “average woman”

This paper questions the marginality of women's suffrage to the new social history of women in late nineteenth and early twentieth-century Britain. In so doing, it seeks to challenge any notion of the suffragist and the “average woman” as absolutely distinct categories. Its argument draws on two major revisions underway in the historiography of this field: firstly, the growing recognition that “votes for women” was not simply a single-issue, equal rights demand, reflecting only a restricted liberal perspective; secondly, the equally significant insistence on the need to apply more extended definitions of both the “political” and the “public” to women's history in this period. The autobiographical writings of Helena Swanwick, Hannah Mitchell and Mary Gawthorpe, it is argued, suggest that the meaning of the vote lies in the mesh experienced by such suffragists between the politics of ordinary, everyday life and their subsequent involvement in the formal politics of parliament and political parties.     

A picturesque travelogue: Mary Wollstonecraft's “letters written during a short residence in Sweden,Norway, and Denmark”, 1796

The article presents a reading of Mary Wollstonecraft's “Letters written during a short residence in Sweden, Norway, and Denmark”, dated 1796, in which the concept of the Picturesque is used as an analytical framework. The Picturesque is a contemporary British aesthetics concerned with how we look at landscape, and with the aestheticism of viewing. It is suggested that the Picturesque offers a new way of understanding Mary Wollstonecraft's position in‐between Enlightenment and Romanticism, Revolution and Restoration, authorship and journalism.     

Negotiating hybridity: Native women's performance as cultural persistence

New Delhi-based performer, Maya Krishna Rao’s experimental performances incorporate a variety of forms including kathakali, cabaret, comedy, drag, live music, and video, and draw attention to the performative, political, and ethical potential of gesture. This article traces Rao’s practice as a minor inhabitation of kathakali and everyday gesture. Following performance theorist Erin Manning (2016), I understand the “minor” to be a force that scrambles normative hierarchies of value and organization from within the intervals of the “major.” Rao’s minor practice retools the four-hundred-year-old dance-drama form to produce new sensory-kinesthetic knowledge of quotidian regimes. In works such as The Non-Stop Feel-Good Show, Khol Do, and A Deep Fried Jam, Rao straddles kathakali’s mythical economy, conventions, and physicality alongside snippets from contemporary news media, ideologically inflected historical narratives, and socially normative dress and behavior codes, to reveal the extraordinary with/in the everyday, such that we might inhabit the present differently. In distorting, combining, disarticulating, and deterritorializing kathakali’s gestural and expressive vocabulary, Rao invites audiences to partake and follow her into a gestural regime that lies alongside the known. By focusing on the possibilities for affective realignment and queering in a minor register, her experimental and hybrid kathakali-influenced performances impress upon discourses and practices of neoliberal urbanism, national memory, and gender and sexuality in New Delhi today.     

“Norwegian Women Got Gender Equality Through Their Mothers' Milk,But Anti-racism Is Another Story”—An Analysis of Power and Resistance in Norwegian Feminist Discourse

This article seeks to explore majority feminists' difficulties in addressing minority women activists' claims in contemporary Norway. The article identifies different representations of feminism in the Norwegian women's movement. Findings indicate that minority women are excluded in the hegemonic representation of feminism by being defined as “different” and not included in this understanding of “women”. Inspired by discourse analysis, intersectionality, and perspectives from black and post-colonial feminist theory, the article argues that the hegemonic representation of feminism is so persistent because it resonates with dominant representations of “Norwegianness”, racism, integration, and gender equality. Within the hegemonic representation of feminism, the asymmetrical relationship between “immigrant women” and “Norwegian women” is unreflected, and racial horizons of understanding (race thinking) are not acknowledged. Racism is not considered to be a relevant issue in the Norwegian context and is thus silenced. The article also identifies counter-hegemonic representations that challenge the hegemonic understanding; however, these understandings are still marginal within feminist discourse in Norway.     

All those nasty womanly things: Women artists,technology and the monstrous-feminine

In the context of international women's studies, contemporary women's art theory and practice remain somewhat on the margins. Yet the issues raised in the work of women practitioners are of crucial importance to current debates surrounding gender, the body, and technology. This article seeks to address the complex interface between feminism, bodies, and technologies, and explores how this might relate to Barbara Creed's notion of the monstrous-feminine. For example, what happens when the slick technology becomes “contaminated” by monsters and “all those nasty womanly things”? Using processes such as digital imaging, interactive CD-ROM, and cosmetic surgery, women artists Orlan (France), Alexa Wright (UK), and Linda Dement (Australia) utilise the tools of modern technology to probe the limits of corporeality and question Western standards of female beauty. To read their work in the light of the monstrous-feminine opens up potentially liberating modes of knowing and experiencing the materiality of the female body.     

Marcia and erikson: The relationships among ego identity status,neuroticism, dogmatism,and purpose in life

Implicit in James Marcia's writings and in the many studies that have employed his measure of ego identity is the assumption that his four ego identity statuses are developmentally ordered along a continuum from “being identity diffused” to “achieving” an ego identity. In order to assess the validity of this assumption, hypotheses were generated and tested concerning the relationship between the above ordering and Erikson's writings regarding the role played in the process of identity formation by the following three variables: neuroticism, dogmatism, and a sense of purpose in life. If one assumes that Erikson's perspective is valid, then the results of this study fail to support Marcia's continuum assumption. While some of the identity statuses appear to classify persons in a manner consistent with Erikson's writings, not one instance of the postulated ordering of Marcia's four statuses is observed. It is concluded that Marcia's measure is not an adequate operationalization of Erikson's perspective on identity formation.     

The women's project: A profile

This paper offers an analysis of the Oprah Winfrey talk show's success as emanating from an ideal typical form of branding that we term “dynamic branding”, in which the gap between production and consumption is almost entirely bridged. Oprah has managed to maintain a dynamic relationship with her viewers based on multiple feedback and feed-forward processes in which consumers' concerns are immediately translated into Oprah's performed identity in her talk show. Such an ongoing exchange of information with her viewers was the basis for Oprah's performance of her own self as a “failed self” embattled with the problems of everyday life, thus creating an equalitarian relationship with her audience. The success of Oprah's brand identity thus derives from its content as much as from the mode of its construction, a mode which involves an intimate and adaptive relationship with consumers that enables Oprah to immediately respond to and incorporate viewers' concerns, values and norms. This paper analyzes in detail Oprah's performed identity with analytical tools informed by linguistic anthropology and brings it into conversation with contemporary branding theories.     

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.