Too Hot to Handle: The Cultural Politics of <Emphasis Type="Italic">Fire</Emphasis>

This essay explores the ways in which the definition of Indian culture has become a site of contest, and how this contest played out in the controversy that erupted over the release and screening of Deepa Mehta's diasporic film, Fire, in India. I locate this controversy within the broader controversies that are taking place over culture, particularly when issues of sex and sexuality are involved. The continuous targeting of representations of sex and sexuality, betrays an underlying fear that sex is something that is threatening to Indian cultural values, to the Indian way of life, to the very existence of the Indian nation. I discuss the responses to the release of the film by the forces of the Hindu Right as well as feminist and lesbian groups and critique the uncomplicated understandings of culture that informed these positions. Contingent upon these responses rests the story in Fire and the way in which the lesbian subject, a sexual subaltern, is constructed in the cultural space represented in the film. I challenge the positions that suggest that the women are represented as victims in the film, and draw attention to the cultural, sexual and familial ruptures brought about by the main protagonists through their desire for one another. I explore the complicated understandings of agency and desire that are represented through the assertion of this relationship.     

the <Emphasis Type="Italic">conditions</Emphasis> of politics: low-caste women's political agency in contemporary north Indian society

In this article I analyse the structural and cultural conditions of low-caste women's political agency in urban north India. Whereas in Western feminist political theory, the sexual division of labour is considered to be a key constraint for women's political participation, I show how this has a secondary relevance in the context analysed. I argue that issues concerning the division of labour are intertwined with and subject to those of male consent and support for women's activities. I illustrate how it is often the supposedly ‘oppressive’ household boundaries rather than alternative outer spaces that, under a series of enabling circumstances, initiate women's political activities. Against this backdrop, I show how Indian women activists’ political agency is shaped by men's role, and how agency's relational nature is embedded in women's lifecycles, everyday practices and cultural expectations; in essence, in overall gendered agency. Comparative analyses between Western and non-Western models of political participation and discourse have only just begun. In this respect, I contribute to this nascent field in the following directions: not only do the arguments I present in this article challenge the individualistic Western subject of political action, but they also complicate the idea of the resulting empowerment as a culturally constructed process whose understanding arises from the dialectics between insider and outsider values.     

Weird Lullaby Jane Campion's <Emphasis Type="Italic">The Piano</Emphasis>

This article examines the construction of woman's voice, gaze and desire in Jane Campion's Oscar-winning film The Piano, 1993, with particular reference to the film's central character, Ada, and to the traditional female figures which her character suggests - siren, mermaid, Little Red Riding Hood, Bluebeard's wife. It investigates the ways in which The Piano interrogates and disturbs traditional patriarchal narratives, ways of speaking and seeing, and patriarchal constructions of bodily pleasure and desire; revealing these as partial, hard of hearing, short sighted and incapable of pleasure. It argues that while the film succeeds in this interrogation, it goes further in its attempt to envisage forms of speech, sight and pleasure which do not conform to traditional models based on the notion of rigid oppositions between self and other, masculine and feminine, active and passive. Instead, by focusing on mutual pleasure, sensuality, communication and the ability to be moved, it sets in motion ‘other’ ways of experiencing and understanding women's voices, looks, desires.It concludes that The Piano articulates a demand for an encounter with men, in which women are neither marginalized as ‘the feminine’ nor re-incorporated into a patriarchal order; and imagines the possibility of both autonomy and connection, power and pleasure.     

Feminist Recoveries in <Emphasis Type="Italic">My Father's House</Emphasis>

One of the achievements of feminist politics, in a range of disciplines and practices, has been to secure a hearing for traumatic narratives of incest. Recently, however, the debate in the public domain seems overwhelmed by what has come to be known as ‘the memory wars’. Fathers accused by adult daughters have dismissed the possibility that traumatic childhood memories can be recovered, largely on the grounds of science and reason. This response of accused fathers would seem to drive out other ways of reading and interpreting the traumatic histories of the cultures we inhabit. On the other hand, feminist responses to narratives of incest are complicated by the desire for appropriate endings. Taking Sylvia Fraser's autobiography, My Father's House: A Memoir of Incest and Healing (1989, 1992) as an exemplary text, this article explores the difficult implications for adult women who commit to literary writing their memories of incest. In particular, how can feminism respond to an incest survivor who wants to forgive her father?     

the ambivalence of colonial desire in Marguerite Duras's <Emphasis Type="Italic">The Lover</Emphasis>

This paper analyses the notions of desire and metissage that circulate in The Lover, Marguerite Duras's autobiographical novel about an illicit and scandalous sexual relationship between an adolescent French girl and a wealthy Chinese man set in 1920s French colonial Siagon. Rather than celebrate The Lover as a tale of a young French girl's resistance to colonial sexual mores and regulations, this paper seeks to excavate how that resistance both affirms and challenges the racializing and racist dynamics of colonial society. In particular, I explore the intertwining discourses of colonial sexuality, gender, race, and Orientalism that both produced and constrained the specific forms of desire and subjectivities available to and taken up by European women in French Indochina, and that circumscribe the story that Duras is able to tell about the French girl's love affair in The Lover. I suggest that Duras's portrayal of the French girl as a sexually autonomous female subject – one whose erotic relations are not bound by the dictates of colonial patriarchy – is made possible only by the ambivalent structure of the girl's desire, by her simultaneous attraction to and repulsion of the racialized others of the French colonies.     

<Emphasis Type="Italic">Zina</Emphasis> and the moral regulation of Pakistani women

From 1998 to 1999, I interviewed women who had been incarcerated under the Zina Ordinance (zina means illicit sex) in Pakistan. This led me to an examination of women's moral regulation by their families, a process in which I maintain the state is complicit. I argue against relativist explanations of this process, which view Pakistani culture or notions of timeless Islam as the reason for women's incarceration. Instead, I examine the interconnection of morality with the legal/judicial structures, the relationship between the state and patriarchy within families, and the plight of impoverished women in Pakistan within an era of globalization. In my analysis, I link economic development and human rights to globalization and the continuing costs of militarization. Such connections allow feminists to target the structural conditions that sustain the laws in Pakistan and help create an environment that will bring about the repeal of the laws while contributing to trans-national feminist solidarity.     

The power of the ordinary subversive in Jackie Kay's <Emphasis Type="Italic">Trumpet</Emphasis>

In Jackie Kay's award-winning novel, Trumpet (1998), the main character Joss Moody, a celebrated jazz trumpet player, is discovered upon his death to be anatomically female. The essay traces both postmodern and humanist affirmations of constructions of self-hood. Situating Virginia Woolf's version of a metaphysical and escapist androgyny as one kind of aesthetic against the material politics of the transgendered subject, the essay argues that Kay's novel can be seen as part of a 20th century tradition of literature and film which satirizes, parodies and painfully exposes the discontinuities of dominant sex–gender systems. The essay ends by arguing that Kay also develops these systems by imbricating sex and gender within a series of dislocated familial, sexual and racial identities, beginning with the arrival of Joss's African father in Scotland at the beginning of the 20th century.     

Pat Cadigan's <Emphasis Type="Italic">Synners</Emphasis>: Refiguring Nature,Science and Technology

This article analyses an anti-essentialist SF novel, focusing on the extent to which A anti-foundationalism enables a more accurate as well as a more productive representation of postmodernity. My argument stresses the ways in which Pat Cadigan's novel Synners, mostly because of its remarkable narrative form, challenges some of the most dangerous norms and normativity of American thought and culture. I argue, that, in order to understand this complex novel correctly, we must approach technoscience and transnational capitalism as separate, interacting discourses and material practices. The representations of technoscience, in the novel, are definitely not ‘figures’ for late capitalism: they are representations of a discourse which interacts with capitalism in the fictional world as in the real world.Contrary to what has been suggested by a number of critics writing about Foucault, use of this notion of discourse does not preclude use of notions of agency. As the queer theorists who have drawn on Foucault's work show, agency can be theorized in terms compatible with the notions of discourses, material practices and technologies. My discussion of Synners thus focuses on questions of agency, showing how Cadigan uses a deconstruction of Judeo-Christian religious tropes to argue for a responsible, and knowledgable, ‘incurably informed’ approach to technology.     

questioning global vaginahood: reflections from adapting <Emphasis Type="Italic">The Vagina Monologues</Emphasis> in Hong Kong

Drawing on the author's experience in devising a localized version of The Vagina Monologues in Hong Kong, this paper critically appraises the ‘global vaginahood’ in the globalization of The Vagina Monologues and the V-Day movement that reproduces a core-periphery relationship in the transnational women's movement. As a theatrical performance and a worldwide movement, these productions are remarkable for the manner in which they raise awareness about women's sexuality and violence against women in different parts of the world. Critical questions, however, remain on the rhetoric of universalism and the ethnocentric methods of the global campaign, with US women's experiences and agenda defining those of women in other parts of the world. As a worldwide campaign, the V-Day movement reproduces a hierarchical model between the global North and South, with an emphasis on Western leadership rather than coalition between partners with different experiences, priorities, and strategies. The paper argues that feminists may develop more effective coalitions with local women by recognizing and identifying locally derived creative efforts to respond to issues that are pertinent to their lives. As such, the paper is a push for dialogues in the V-Day campaign and transnational women's movement in general.     

The Benefit Cap and the Complexity of Discrimination: <Emphasis Type="Italic">R</Emphasis> (<Emphasis Type="Italic">SG and others</Emphasis>) <Emphasis Type="Italic">v Secretary of State for Work and Pensions</Emphasis>

In R [on the application of SG and others (previously JS and others)] v Secretary of State for Work and Pensions, the United Kingdom Supreme Court evaluated the legality of the benefit cap. The Court was sharply divided but decided by a narrow margin that the benefit cap did not amount to a violation of the claimants’ human rights. While the majority accepted that the gender discrimination was justified, the Court noted that the current measures fell short of the United Kingdom’s responsibilities under the United Nations Convention on the Rights of the Child. This could prove of the outmost importance as the government elected in May 2015 has announced further reductions to the existing benefit cap. The case comment evaluates whether the Court paid enough attention to the multifaceted nature of poverty and discrimination, and argues that the impact the benefit cap has had specifically on women from black and ethnic minorities should have been considered.     

mediations on making <Emphasis Type="Italic">Aaj Kaal</Emphasis>

This article excavates a discussion on the mediations that informed the making of the film Aaj Kaal by Asian elders, in a project directed by Avtar Brah and coordinated by Jasbir Panesar with the film trainer Vipin Kumar. It brings this largely unknown and inventive film to the foreground of current developments in participative media research practices. The discussion explores the coming together of the ethnographic imagination and performative pedagogies during the course of an adult education community project centred on South Asian elders making a film. Collaborative dialogic encounters illuminate post-war British front rooms, the seaside and public spheres from what is usually an unlikely vantage point of view in public accounts.     

performing African Canadian identity: diasporic reinvention in <Emphasis Type="Italic">Afrika Solo</Emphasis>

This article examines Djanet Sears' Afrika Solo (1990), the first published play by an African Canadian woman, as an example of African diasporic writing in Canada. Now one of Canada's most celebrated playwrights, and a leading figure in the recent popularity and success of African Canadian theatre in the last decade, Sears began her dramatic exploration of African Canadian identity in her semi-autobiographical play Afrika Solo, first produced in 1987. As I intend to argue, the play's musical score and its use of stage space problematizes the notion of static cultural origins often associated with the Canadian multicultural discourse of hyphenated identities by pointing to the many cross-cultural and transnational sites that shape constructions of African Canadian identity. In so doing, the play develops an innovative diasporic aesthetic that can be placed within a larger cultural tradition of African diasporic representation theorized by Rinaldo Walcott, Paul Gilroy, and Dionne Brand.     

<Emphasis Type="Italic">Ples Bilong Mere</Emphasis>*: Law,Gender and Peace-Building in Solomon Islands

This article discusses women and peace-building in Solomon Islands and the effect of law, theory and practical circumstances on their role. It looks at the place of Solomon Islands women in society historically, with particular reference to war and peace. It then analyses their current status from a legal perspective, looking at the existing Constitution, the proposed Federal Constitution, and relevant aspects of international law. It questions whether gender equity provisions are sufficient to promote participation at a practical level. The article also disputes the effectiveness of various international, regional, and local initiatives, designed to enhance the status of women. The article discusses the application of some of the theories relating to women and peace-building to the circumstances of Solomon Islands. It concludes by looking to the future and discussing means of consolidating women’s position, and increasing their involvement in leadership and decision-making.

What a Difference a Decade Makes: <Emphasis Type="Italic">Coming to Power</Emphasis> and <Emphasis Type="Italic">The Second Coming</Emphasis>

A critical look at two books, Coming to Power – Writings and Graphics on Lesbian S/M, published in 1981, and its ‘long awaited sequel’, The Second Coming – A Leatherdyke Reader, published in 1996, yields many differences and similarities. Both books have been judged negatively or positively on the basis of their sadomasochistic content and in line with knee-jerk positions around the lesbian ‘sex wars’ of the 1980s. The feminist politics represented in each book and the connections to more general lesbian feminist concerns and developments of either the late 1970s (Coming to Power) or the late 1980s and early 1990s (The Second Coming) are often overlooked or dismissed. Comparing the kind of sex acts and personas fetishized in each book as well as the claims made for lesbian sm by its adherents often reveals more than the writers may have intended. A more nuanced reading of both books also reveals connections between lesbian feminism, particularly lesbian radical feminism and the sm dykes. Rather than being the ‘illegitimate children’ of lesbian feminism, as Coming to Power maintained in 1981, it is clear now that sm dykes and lesbian feminists are strange sisters who needed each other to define their particular politicized identities.     

re-reading horror stories: maternity,disability and narrative in Doris Lessing's <Emphasis Type="Italic">The Fifth Child</Emphasis>

The central issues raised in much of feminist literary theory's early scholarship remain prescient: how does narrative engage with the social‐historical? In what ways does it codify existing structures? How does it resist them? Whose stories are not being told, or read? In this article I use Doris Lessing's novel The Fifth Child (1988) as a text with which to begin to address the above questions by reading with attention to the mother story but also the ‘other’ stories operating both within and outside of the novel; in particular I am concerned with the convergence of maternity, disability and narrative. The novel's co-implication of sexual difference and corporeal difference reveals the ways in which the mother's story is both made possible and authorized by the disabled body of her child, and by his inability to tell his own story. Yet, if The Fifth Child is a horror story that uses the disabled child's body as its ground, it is also about the horror of maternity, in its conception and attendant choices. In this fictional story as well as in the social‐historical narrative circulating at the time of its publication in the late 1980s, both child and mother are indicted in their otherness and it is ultimately impossible to separate one from the other.     

Sexual Abuse and Claims in Tort: Limitation Periods After <Emphasis Type="Italic">A v</Emphasis><Emphasis Type="Italic">Hoare (and Other Appeals)</Emphasis> [2008] and <Emphasis Type="Italic">AB and Others v Nugent Care Society; GR v Wirral MBC</Emphasis> [2009]

The claimants brought civil suits against child care institutions and authorities for the sexual abuse to which they were subject whilst under the defendants’ responsibility. These cases were not initiated until the claimants were well into adulthood and began recognising the harms they had suffered, and as a result, their claims were time-barred at first instance. However, after A v Hoare (and Other Appeals), in which the House of Lords significantly altered the laws on limitation, their cases were reheard and allowed to proceed. In this respect, AB and Others v Nugent Care Society; GR v Wirral MBC demonstrates the benefits of the ruling in Hoare; but at the same time, this note argues that the Court of Appeal utilises a problematic conceptualisation of the harm of sexual abuse and the case highlights the potential for inconsistency and uncertainty in such delayed claims following the decision in Hoare—which is not the panacea it initially appears to be.     

speculating Latina radicalism: labour and motherhood in <Emphasis Type="Italic">Lunar Braceros 2125</Emphasis>-<Emphasis Type="Italic">2148</Emphasis>

This essay unpacks the utopian impulse in Rosaura Sánchez and Beatrice Pita’s novella Lunar Braceros 2125-2148 (2009). As speculative fiction that has strong, explicit critiques on labour and globalisation, Lunar Braceros crafts a future-historical and future-present world where racialised forms of labour exploitation are the norm. The novella offers the radical response of worker revolution that can only ever be a potential and desire. The novella does this by presenting an ambivalent labour politics that results in the dismantling of the family as a heteronormative unit and that depend on the figure of the lost radical mother. The intervention this essay makes into Latina/o studies and feminist studies is to rearticulate the figure of motherhood through a specific lens of radicalism that is both queer and proletarian. By thinking about Latina radicalism through the intersections of labour, gender and non-normative sexuality in the novella, we see that the lost mother figure disrupts capitalist patriarchy by offering radical potentiality.     

In Love with <Emphasis Type="Italic">Inspector Morse</Emphasis>: Feminist Subculture and Quality Television

This article consists of textual analysis of a highly successful television series, Inspector Morse, combined with qualitative audience study. The study of Morse and the fan culture surrounding it is presented in the context of a discussion of recent feminist work on the texts and audiences of popular culture. The textual analysis focuses on those elements of the programmes which contribute to its success as ‘quality’ television, and particularly on Morse as an example of the role played by nostalgic representations of Englishness in ‘quality’ media texts of the 1980s. The article goes on to discuss whether the presence of such representations in these programmes leads inevitably to a convergence of ‘quality’ and conservative ideology. The discussion of the ideological subtexts of the programmes then focuses on the area of gender representation, and on the extent to which feminist influences are discernible in this example of quality popular culture, particularly in its representations of masculinity. The second part of the article presents an analysis of a discussion group involving fans of the series, which was organized as part of a larger qualitative study of the fan culture surrounding the programmes. There is a detailed discussion of the impact of the social dynamics of the group on their readings of Morse. The analysis also focuses on the ways in which the discourses identified in the textual analysis, such as gender representation, quality and Englishness, are mobilized in talk about the programmes. Finally, the nature of the group made it possible to discuss the construction of a feminist subcultural identity in talk about a mainstream media text, and to identify irony and critical distance as key components of that identity, particularly in the discussion of the pleasures offered by the romance narratives of the programmes.     

All Het up! Rescuing Heterosexuality on the <Emphasis Type="Italic">Oprah Winfrey Show</Emphasis>

The Oprah Winfrey Show provides an interesting set of contradictions. On the one hand, it appears to challenge common-sense assumptions about relationships, specifically heterosexual relationships (for example, by consistently raising issues of sexual violence within a heterosexual context). Yet, at the same time, Oprah's presentation often works to reinforce precisely the norms she seeks to challenge. Through a close analysis of a selection of programme clips from one particular programme among many about relationships, sexuality and families, this article will consider the ways in which the Oprah Winfrey Show both problematizes and yet normalizes the boundaries of heterosexuality. Here we shall discuss both the resolute exposure and exploration of what could be termed the casualities of normative (and compulsory) heterosexuality and, paradoxically, its recuperation as a ‘rational’ ideal. In exploring the ways in which this recuperation takes place, we shall begin with a brief consideration of two of the key discourses which shape the show: the discourse of therapy and that of kinship. Our analysis of the sexual politics of the Oprah Winfrey Show in these terms will focus on the programme, ‘How to Make Love Last’ (18 January 1993). Like so many other programmes, ‘How to Make Love Last’ intends to highlight and deal with problems within heterosexual relationships as distressing but solvable (through the medium of therapeutic self-help). At another level, however, the programme also (unwittingly) reveals a different order of problems which, ironically, can only be reinforced by the mode of rescue proposed and staged.