Rural artisans and peasant mobilisation in the socialist international: The fasci siciliani

This article explores the conditions under which peasant cultivators and rural artisans participate in movements of social transformation, a case in point being the Fascio movement of Sicily in the late nineteenth century. It analyses the reasons why artisans could play a critical role in politicising local protest and articulating it with pan‐European socialist movements, by describing their relations to other classes in a differentiated peasant community.     

Gifted adolescents and intimacy in close same-sex friendships

As most research with gifted children has demonstrated that giftedness has a positive effect on popularity and social self-esteem, it was expected that gifted adolescents would demonstrate higher intimacy with their same-sex closest friends and would tend to evince a more secure attachment style than nongifted cohorts. A total of 56 gifted and nongifted 9th graders completed questionnaires regarding their intimacy with closest same-sex friend and attachment style. However, the hypotheses were not confirmed. Gifted adolescents of both sexes reported lower intimacy with their closest same-sex friends than nongifted adolescents, and they did not differ from the latter in the frequency of the attachment styles they exhibited. These results are discussed in light of the distinction between instrumentality and expressiveness in social relations; it is suggested that gifted adolescents have a stronger instrumental orientation than others. While this may prove conducive to close relationships at the preadolescent stage, it does not give them an advantage during adolescence.Received Ph.D. in psychology from Tel-Aviv University, Israel. Current research interests are close relationships, attachment, intimacy, and identity formation.     

Non‐capitalist relations of production in capitalist society: The khammessat in Southern Tunisia ∗

The khammessat is one of the most ancient social institutions regulating agricultural labour in the Magrheb. This article seeks to answer three questions: (1) What is the nature of the relationship between agricultural labour and landowner in a society dominated by a non‐capitalist mode of production? (2) What was the impact of capitalism on such labour relations? (3) Is there any possibility of the development, within the khammessat system, of a labour organisation and the demand for rights?     

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

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

Jewish joke telling in Muttersprache Mameloschn: performing queer intervention on the German stage

This essay explores the central role of Jewish joke telling in Sasha Marianna Salzmann’s play Muttersprache Mameloschn (first performed in 2012). Subversively revealing the problematic of essentializing cultural, national, and even sexual identity, Jewish joke telling figures as a performance of social and political resistance and disidentification in this play. Engaging with Jack Halberstam’s queer epistemology of failure and José Esteban Muñoz’s theory of queer disidentification, I propose that the act of Jewish joke telling by a young lesbian plays out as a new queer project of intervention in this play that confronts both antisemitism and culturally positioned sexual hegemony.     

Miss Reading

Against the backdrop of western culture's strong investment in gendered clothes, Stockton looks at clothing's intricate relations to shame and, for some queer women and men, the surprising value of these humiliations, especially in the service of sexual attraction. The word 'martyrdom', with its associations to bodily wounding and psychic pain, is not too strong for the acts of clothing and sartorial preference she discusses. Working through concepts that emerge from Sigmund Freud on femininity, Georges Bataille on sacrifice and Leo Bersani on debasement, along with debates among feminist thinkers about the New Woman, Stockton takes up 'martyrs' from three distinct histories, martyrs as diverse as the mannish lesbian of Great Britain's 1920s, American butches and femmes of the 1960s, and even the sailors of post-war France. How public self-betrayal and self-debasement in terms of clothes can offer creative social formations is the focus of this article. The highly famous novels of three queer authors provide the means for this surprising look: Radclyffe Hall's The Well of Loneliness, Leslie Feinberg's Stone Butch Blues and Jean Genet's Querelle.     

Pantomime Dames

The British Broadcasting Corporation's television show Snog, Marry, Avoid (SMA) states its mission is, ‘to reveal a nation of stunning natural beauties who are currently hiding behind layers and layers of slap’ [BBC. 2008. Snog, Marry, Avoid Season One. United Kingdom: Remarkable Television]. This article considers SMA as a useful text for deconstructing contemporary norms of femininity. I utilise queer and affect theory perspectives from Berlant [2011. Cruel Optimism. Durham, NC: Duke University Press], Halberstam [1998. Female Masculinity. Durham, NC: Duke University Press, 2012; Gaga Feminism: Sex, Gender, and the End of Normal. Boston, MA: Beacon Press] and Puar [2007. Terrorist Assemblages: Homonationalism in Queer Times. Durham, NC: Duke University Press] to reveal the queer dimensions of the excessive femininity represented in the show. Berlant's work illuminates attachments to particular stylings, to understand where ‘cruel optimism’ operates. Further, I apply the idea of ‘queening’ as an inverse reference to Halberstam's ‘kinging' [Halberstam, J. 1998. Female Masculinity. Durham, NC: Duke University Press, 259]. Lastly, Puar's ideas are used to analyse the affective dimensions of excessive feminine embodiment in order to consider how this involves a queering of the body. This article departs from recent feminist scholarship on the rise of raunch culture and post-feminism. Rather than focusing on the participants of SMA as symptoms of a problematic hypersexual culture, I argue for seeing these contemporary young women's excessive femininity as queer, that is, as troubling the boundaries of gender ‘normality’.     

A Letter Sent,Waiting to be Received: Queer Correspondence,Feminism and Black British Art

Abstract

This article examines what the published letter does as a form that is both intimate and public, and how it is particularly resonant when dealing with the silences and absences around queer and feminist artist of colour histories. Connections are made between three letters published in feminist and queer journals and books, written for readers who may include the writers’ loved ones, friends, contemporaries, and future readers. These three letters are contained within the following publications: Surviving Art School (2016) by the group Collective Creativity, a QTIPOC artist group who made the publication as part of a wider project examining the history of Black British Art (members are: Evan Ifekoya, Raisa Kabur, Rudy Lowe and Raju Rage); a special issue of FAN (Feminist Arts News) edited by Lubaina Himid and Maud Sulter in 1988, the precursor to the more well-known collection Passion, edited by Sulter in 1990; ending with Himid's recent reflections on her curation in the 1980s through a series of ‘Letters to Susan’ published in the 2011 catalogue for the exhibition Thin Black Line(s) at Tate Britain. Through close examination of these examples, this article explores the particularities of the letter form, asking if it allows feminist and queer artists of colour to present their experiences in a manner that encourages all their readers to take part in the conversation, whilst prioritizing calls for other people of colour to respond. The article proposes that the published letter form keeps feminist histories alive and creates a counterpublic that speaks to and for a community that is imagined as both geographically and temporally diffuse.     

Performing the Filipina “mail-order bride”: Queer neoliberalism,affective labor,and homonationalism

The 2005 video/performance art piece, Always a Bridesmaid, Never a Bride, by the Filipina American performance-art ensemble, the Mail Order Brides, examines the role of affective labor in constituting gay marriage as a form of US homonational belonging. In a contemporary context of capitalist globalization, Always a Bridesmaid, Never a Bride critiques the subjugation of the third-world woman worker within a queer neoliberal logic, highlighting the inability of the mainstream US LGBT movement to address issues of race, migration, and labor. The Mail Order Brides enact forms of feminist camp and ethnic drag to denaturalize the affective labor that is embodied within the figure of the Filipina “mail-order bride.” In doing so, Always a Bridesmaid, Never a Bride links an analysis of transnational Filipina labor with a critique of queer cultural politics in the US In its critique of queer neoliberalism, Always a Bridesmaid, Never a Bride builds on and contributes to queer of color social movements committed to racial and economic justice.     

Does a commodity economy enrich the few while ruining the masses? Differentiation among petty commodity producers in guatemala

In this paper I discuss the way in which rural artisans in one municipio of Guatemala organize production and how this organization impedes the differentiation of the artisanal population into owners and workers. I show that categories of owners and workers exist in the municipio, but that these categories do not reproduce themselves as classes; instead, they reproduce each other through the life cycle. In order to explain this phenomenon, I look at internal relations of production, the external environment of large‐scale capital, and the role of migration and the stale in the creation of a permanent Guatemalan proletariat and in the creation of an undifferentiated artisanal economy.     

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.     

Homonormative Collusions and the Subject of Rights: Reading <Emphasis Type="Italic">Terrorist Assemblages</Emphasis>

This essay provides an analytic review of Jasbir Puar’s book, Terrorist Assemblages (2007), situating her discussion and analysis of “homonationalism” within the context of recent developments in queer theory in the USA, and specifically, critiques of queer liberalism and gay imperialism; racial analyses of hetero- and homo-normative formations; and challenges to identity politics and representational frameworks that dominate LGBT studies. It takes up Puar’s interest in finding new methods and ‘reading’ practices to track certain shifts in LGBT politics and to account for alignments between (white) queerness and normative, nationalist and imperial interests. Engaging with and expanding on her analysis, this paper discusses the challenge that Terrorist Assemblage poses to the identity categories that undergird human rights campaigns, and addresses the racist and nationalist sentiments that she locates within them.     

“Walls made out of paper”: Witnessing wit and how I learned to drive

The article proposes an alternative performative methodology for displaying sexuality in public spaces called queer curatorship. Specifically, it examines Isaac Julien's film The Attendant and a Chicago leathersex museum (The Leather Archives &; Museum) wherein histories of sadomasochistic sex practices and slavery dangerously crisscross on the surface of objects. Tyburczy posits that sites that feature materials such as real Antebellum slave whips alongside objects used as instruments of consensual pleasure and pain offer unique opportunities to reconfigure, recode, and reanimate epistemological frameworks for understanding the history of sexual equipment, the perversion and eroticization of power exchange, and the mutually constitutive relationship between histories of eroticism and histories of discipline. Cultivating the visual lessons learned from The Attendant into new curatorial models enacted during her tenure as a museum curator at the Leather Archives &; Museum, Tyburczy ultimately proposes queer curatorship as an experimental museum practice that stages alternative configurations between objects and bodies in space to alter the historical relationship of race, sex, and power as they relate to particular objects and acts, in this instance the use of whips in interracial scenes of sex and violence.     

why queer diaspora?

‘Why Queer Diaspora?’ intervenes at the intersection of queer theory and diaspora studies to ask how the conditions of geographical mobility produce new experiences and understandings of sexuality and gender identity. More particularly, this essay argues against a prevalent critical slippage between queer and diaspora, through which the queer is read as a mobile category that, like diaspora, disrupts the stability of fixed identity categories and thus represents a liberatory position within the material and geographical displacements of globalization. Instead, I posit that the work of ‘queering’ diaspora must be to examine the new articulations of normative and queer as they emerge in the transformations of the late twentieth century. To this end, the essay looks to two contemporary documentaries, Remote Sensing (Ursula Biemann, 2001) and Mariposas en el Andamio/Butterflies on the Scaffold (Margaret Gilpin and Luis Felipe Bernaza, 1996), as models of alternative articulations of the queer and the diasporic. Ultimately, I argue, it is a focus on the labour through which the seemingly natural categories of gender and sexuality are produced, that a queer diasporic criticism might offer.     

reflexivity and queer embodiment: some reflections on sexualities research in Ghana

The ‘reflexive turn’ transcended disciplinary boundaries within the social sciences. Feminist scholars in particular have taken up its core concerns, establishing a wide-ranging literature on reflexivity in feminist theory and practice. In this paper, I contribute to this scholarship by deconstructing the ‘story’ of my own research as a white, genderqueer, masculine-presenting researcher in Ghana. This deconstruction is based on thirteen months of field research exploring LGBT activism in the capital city of Accra. Using a series of ethnographic vignettes, I examine questions of queer subjectivity, embodiment and self/Other dynamics in the research encounter. Specifically, I interrogate what a reflexive concern for power relations means when researchers share moments of commonality and difference with research participants, here in relation to axes of gender, sexuality, race and class. Finally, I explore the challenge of theorising resistance in light of feminist postcolonial critiques of the politics of representation. I conclude that it is only by locating these tensions and dissonances in the foreground of our inquiries that reflexivity becomes meaningful as a way of rendering knowledge production more accountable and transparent, of practising feminist solidarity, and of excavating our own queer research journeys.     

‘De-pastoralisation’ in Uganda's Northeast: from livelihoods diversification to social differentiation

ABSTRACT

Over the past two generations, livestock loss and hunger, caused by violent conflict and drought, have driven many transhumant agro-pastoralists living in central Karamoja to resettle in unpopulated areas more suitable for agricultural production. These areas, mostly located in the southern and western parts of the region, were historically used by herders as dry season grazing rangelands, while they presently house permanent settlements populated by now sedentarised ‘marginal farmers’, town-based workers and patriarchal elites. In this article, I advance the concept of ‘de-pastoralisation’ to explain the process of dispossession of the major means of social reproduction, which causes an increase in livelihoods diversification and in social differentiation. Through the concept of de-pastoralisation, this article aims to investigate the historical dissolution of pastoralism and its socio-economic consequences, characterised by exploitative inter and intra household relations of production, leading to processes of general proletarianisation and male elite accumulation that reproduce inequality over time.     

Bad Feelings

While the importance of negativity and negative affects to queer history and theory has been the subject of much recent critical discussion, bad feelings are equally prevalent in contemporary feminist theory. The aim of this article is not to provide a summary overview of a recent negative turn in feminist theory, however, nor to identify the early twenty-first century socio-political causes of this welling up of bad feeling. Rather, its purpose is to consider the way the increasing centrality of studies of affect to feminist histories and politics allows us to reconceptualise these as ‘affective genealogies'. The article examines this by focusing on three representative texts, which it takes as representative of three key moments in the recent affective genealogy of feminism: Rosi Braidotti's Metamorphoses: Towards a Materialist Theory of Becoming (2002); Sara Ahmed's The Promise of Happiness (2010); and Lauren Berlant's Cruel Optimism (2011).     

Queering the World or Worlding the Queer? New Readings of Anna Kavan’s Who Are You?

Abstract

This essay explores world-literary and queer approaches to Anna Kavan’s little discussed 1963 novel Who Are You?. It argues that world-literary scholarship demonstrates the centrality of white colonial masculinity to capitalist modernity, while a queer reading highlights the anxious performativity at the heart of such power. The most distinctive feature of Kavan’s text is its unusual format, whereby the story is told once, in detail, before immediately being retold, in more concise fashion and with some adjustments. What both fields add to the analysis of this formal deviation is a shared concern with the failings of normative order—whether that be the bourgeois, heteropatriarchal family or the capitalist system itself—and, in turn, the relationship of such failure to narrative disjuncture.