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.     

Listening to color: a set of propositions on pain as feminist aesthetic

This performative text asks whether it is possible to imagine an antisocial feminist aesthetic that does not invoke the wounded body. Its form – numbered propositions that engage with critical theory, literature, and memoir – riffs on that of Maggie Nelson’s Bluets, a key interlocutor for this question of aestheticizing embodied pain. How does Nelson’s genealogy of blue model a methodology for a “queer genealogy of femininity,” to borrow Jack Halberstam’s term? How does looking at color in this way offer an approach to narrating trauma, one that displaces the primacy of the visual? Turning to the work of Christina Crosby, Toni Morrison, Fred Moten, and José Esteban Muñoz, as well as drawing upon the author’s experience as a volunteer for a peer listening hotline, this essay considers the implications of “listening to color” for minoritarian knowledge formations and feminist praxis.     

From a mimetic to a holographic paradigm in fiction: Toward a definition of feminist writing

This paper outlines a theory of fiction by examining the shift from the basically mimetic nineteenth century to be essentially non‐mimetic twentieth century. It further argues that the contemporary novel, as herein interpreted, constitutes a bona fide expression of feminist writing.

The paper contends thatthe transformation undergone by the novel as it moved from the nineteenth century to the twentieth century bears witness to the wide ranging transformation affecting the western world today. A number of inter‐related shifts have occurred ostensibly leading the western mind into a radically new world view, or new paradigm. Indeed, our culture is steadily moving from the absolutes of traditional physics to the relativity of the new physics and quantum theory; from a “logocentric”¹ to a “deconstructive”² universe; from a fragmentary (basically static and non‐creative) to a holistic (essentially dynamic and creative) realm; from representation to holography. Inasmuch as “representation” relates to “mimesis”, this paper ultimately redefines its aim by proposing to explore a shift from a mimetic to a holographic paradigm in fiction.

The notion of the holograph is therefore essential to the paper. As herein interpreted, holography not only challenges representation, but it also devalues the linear view of time (which is central to western culture) by focusing on the “now” and thereby delving into the depths of reality — the realm of the underlying, creative forces which the western world is presently releasing. It is precisely the release of long‐repressed forces that is drastically transforming western culture. This sheds new light on the problematics of western alienation which can now be reassessed in terms of “alienation from the creative source”.

In the final analysis, the paper contends that the emerging forces are essentially feminine. This posits an ultimate, all‐encompassing shift which may be said to be leading us from a male‐oriented to a holistically‐oriented culture: a culture that celebrates the essential oneness and fundamental dynamics of Life. Since the twentieth century novel has superbly explored and expressed the emergence of these forces, the paper regards it as the epitome of feminist writing. This writing is to be viewed as practice in the sense that it expresses the very process of change it has helped foster and in which it participates: the process of integration of the creative depths of being.     

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.     

Feelings are “patterns in the weave of our life” 1 – not a basis for a feminist epistemology

Feelings (or “emotions”) have frequently been debated in feminist theory. A large part of this discussion can be considered to aim at a “rehabilitation of the emotions”. However, when feminist theorists make epistemological claims concerning “emotions”, i.e. what philosophy of mind calls “mental states”, we run a grave risk of ending up in subjectivism and thus of reiterating the “private access fallacy” of traditional epistemology. Starting from the feeling of shame (a paradigm for a socially constructed feeling), this article makes a Wittgensteinian reading of “emotions” which offers an alternative to the atomistic, mentalistic and episodical view of mainstream philosophy of mind. Wittgenstein's thrust against foundationalism, his conceptual remarks about “inner experiences”, his anti‐behaviourism and his emphasis on the primacy of action, are all concordant with the social constructionism of the slogan “The personal is political”.     

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.     

Lessons from “Around the world with Oprah”: Neoliberalism,race, and the (geo)politics of beauty

On 6 October 2004, viewers went “Around the world with Oprah” and received a rare glimpse inside the lives of 30-year-old women from 17 different countries. When Oprah turned her gaze (and that of middle-class American housewives) eastward, she highlighted South Korean women's penchart for plastic surgery. Oprah's “trip” to South Korea is emblematic of Western discourse surrounding South Korean Women's plastic surgery consumption, most of which focuses on cosmetic eyelid surgery or the sangapul procedure as it is called in South Korea. Given its widespread popularity, the sangapul procedure has come to signify South Korean women's acquiescence to not only patriarchal oppression but racial oppression as well. This essay goes beyond the psychologization of South Korean women in order to ask what such psychological musings obscure about the very political nature of beauty itself. Using “Around the world with Oprah” as a starting point, then, this essay examines beauty at the intersection of race, technology, and (geo)politics in order to show that, in an era of neoliberalism, plastic surgery is often rationalized as an investment in the self towards a more normal, if not better future. As this essay suggests, such a framing of plastic surgery is contingent on Oprah's production of neoliberal feminism based on liberal notions of choice. Given her global reach, these neoliberal feminist subjects are not produced equally, however, but are discursively constructed along a First World/Third World divide.     

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.     

The Well-Tempered Breast: Fostering Fluidity in Breastly Meaning and Function

This article looks at the phenomena of induced lactation and adult nursing. While maternity is understood to perform a certain kind of body modification, it is little known that lactation can also work independently of the pregnant body, or even of the female sex to modify the breast and its function. Induced lactation allows for a splitting away of breastfeeding from maternity, opening up possibilities for elaborating on the cultural meanings and uses of breastmilk as a substance, breastfeeding as a practice, and lactation as a process. Finally, by introducing lactation into sexual play, it offers the opportunity for a mutual confluence of bodily flows which may help to disassemble the binaries of sexual difference.

“… how are we to prevent the very unconscious (of the) ‘subject’ from being … diminished in its interpretation, by a systematics that re-marks a historical ‘inattention’ to fluids? In other words: what structuration of (the) language does not maintain a complicity of long standing between rationality and a mechanics of solids alone?

Luce Irigaray, “The Mechanics of Fluids” in This Sex Which is Not One ^{1 1}Translated by Catherine Porter and Carolyn Burke. New York: Cornell UP, 1985, p.107

“Breastfeeding is a partial expression of female sexuality and yet there is no awareness or understanding of it today, no culture attached to it and not even an inkling of its rank as a sexual potentiality … even the history of the female species formulated by women themselves, however fragmentary, maintains a seldom-interrupted silence over this special sexual experience.”

Barbara Sichtermann, “The Lost Eroticism of the Breasts” ^{2 2}In Femininity: The Politics of The Personal. Ed. H. Gyer-Ryan. Translated by J. Whitlam. Cambridge: Polity, 1986, pp. 55-68, p. 56.

“Would you like to try some?”

“Thank you.” She swallows her last bit of cake. “I would.”

So we go through the process again. This time when I have bared my breasts I lean over and put the nipple between her lips. After a few tugs from her mouth, surprisingly strong, I have to put my hand on the wall to brace myself. She seems to pull clear through me.

“You are flushed,” she says when she comes away.

“You are fleshed,” I reply.

Susann Cokal, Mirabilis ^{3 3}Sydney: Hodder Headline, pp.78–9

     

How “godparents” are made for “unaccompanied refugee minors”: an ethnographic view into the training of future youth mentors

There are many qualitative studies on interactions and activities within mentoring, including on organizational processes. This article concentrates on one pivotal aspect regarding the “doings” of mentorship—the training of future voluntary mentors (known as "godparents") for separated young refugees in a pilot program. The underlying study looks at knowledge production in mentoring. The explorative research done in Austria started during the so-called refugee crisis in Europe in 2015. Using data from participant observation, the “triangle of godparenthood” is reconstructed as a core structure underlying the overall pilot program. Thus the ideal-type figures of the “family-like,” the “professional,” and the “committed contractual” godparent become visible. The interpretation discusses youth mentoring as a form of social problems work. Accordingly, the study shows how social protection is organized based on particular social problematizations and on the construction of voluntary mentors from civil society. The training “teaches” future mentors what kind of young people their counterparts are. It offers a problematization according to which particular “needs” are defined. This allows mentors to legitimize, rationalize, and moralize what is, in the end, a pedagogical approach. By relating the problematization to a personal level, the training provides future mentors with a particular idea and moral obligation regarding what they personally can be for those young people who are categorized as “unaccompanied refugee minors.”     

Just Use What You Have: Ethical Fashion Discourse and the Feminisation of Responsibility

ABSTRACT

The rise of fast fashion has meant that young women (even those on relatively low incomes) are able to ‘regularly consume and discard fashionable clothing’ [Buckley, Cheryl, and Hazel Clark. 2012. “Conceptualizing Fashion in Everyday Lives.” Design Issues 28 (4): 18–28. doi:10.1162/DESI_a_00172., 21]. While this development may be aligned with the democratisation of fashion—the fact that the supply chains that deliver fast fashion are not consistent with the principles of global democracy is now also relatively common knowledge in the democratised West. This, along with growing awareness of the ecological harms associated with the fashion industry has contributed to what Elke Gaugele [2014. Aesthetic Politics in Fashion. Vienna: Sternberg Press] has termed the ‘ethical turn’ in fashion. However, despite the fact that young women are often not deemed capable of translating their (ethical) attitudes into (ethical) behaviours [McNeill, Lisa, and Rebecca Moore. 2015. “Sustainable Fashion Consumption and the Fast Fashion Conundrum: Fashionable Consumers and Attitudes to Sustainability in Clothing Choice.” International Journal of Consumer Studies 39 (3): 212–222], nor able to be ‘trusted to consistently make good decisions’ [Brooks, Andrew. 2015. Clothing Poverty: The Hidden World of Fast Fashion and Second-Hand Clothes. London: Zed Books, 241], they are also increasingly being called to recognise their individual role in the politics of global fashion supply chains. Drawing on examples from scholarly and popular discourses as well as online peer to peer communications, this article explores the historical moment of fast fashion as an instance of both the feminisation of consumption and the feminisation of responsibility.     

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.     

The shadow block: Female bonding in quilters

In these brief notes, the author's aim is to situate Born in Flames historically, including within the history of feminist theory. His starting point for thinking through this film was the presumption that what it means now differs from what it meant in its own time. While that would be true of almost any text, it has seemed to the author that Born in Flames, as an incendiary text, is extraordinarily provocative in the very ways that make it now seem “dated.” It remains inspiring, however, because it offers a vision of intersectional political coalition more radical than any feature film that we are likely to see now, despite the influence of decades of feminist, queer, and critical race studies. Revisiting the discourses the film generated at the time of its release, the author has come to recognize that, though times and the trends in theory have changed since 1983, the stakes of the revolution in the film have not. It presents a desire to make the world otherwise, economically and culturally.     

Gender differences in self-reported moral reasoning: A review and new evidence

Sixty-four undergraduates wrote responses to the question, “When faced with a moral dilemma, what issues or concerns influence your decision?” The responses were coded according to one or more of 13 themes by independent raters blind to the subjects' gender. Six of the themes were identified as “feminine” themes and seven as “masculine” themes on the basis of previous work by Gilligan ([1982],In a Different Voice, Harvard University Press, Cambridge, Massachusetts), Kohlberg ([1976], “Moral Stages and Moralization: The Cognitive-Developmental Approach,” in Lickona, T. [ed.],Moral Development and Behavior: Theory, Research, and social Issues, Holt, Rinehart and Winston, New York), and others. Only one association between gender and the presence of any given theme reached statistical significance: Thus, there is little evidence to support the idea that men and women differ in their reports of how they think about moral dilemmas. For all subjects, the average proportion of possible feminine themes in a response was higher than the proportion of possible masculine themes. This finding supports the idea than an exclusive focus on themes such as rights and responsibilities will fail to capture many of the considerations all subjects regard as most important.     

Feminist Theory and that Critical Edge

The purpose of this article is to provoke much‐needed discussion on the uses by feminists, in particular feminist political scientists, of the language of discourse, discourses and discursive. The terms, it argues, have become ubiquitous, with considerable confusion about intended meanings. A particular concern is the growing tendency among some feminist political scientists to use “discourse” as shorthand for ways of talking about an issue. Critical to sorting through different meanings of discourse, it argues, is the question of subject “agency”—the extent to which subjects can use discourses or are constituted by them. As a way forward the article advances a dual‐focus agenda that builds bridges across discourse traditions; identifying both the ways in which interpretive and conceptual schemas delimit understandings, and the politics involved in the intentional deployment of concepts and categories to achieve specific political goals.     

Reconstructing social spaces: The rhetoric of the public/ private split

The article deals with the public/private distinction as a hidden spatialization that regulates the social. It looks at restructurations of the distinction; at changes and their political consequences in terms of ongoing rhetorical boundary work. The naming or coding of something as public or private is in itself a cultured process. The distinction is used in various meanings and within multiple discursive repertoires. What is named as public or private also varies in time and in space. Although variable and contextual, the coding always carries social value; it structures the societal positions of people. Furthermore, the coding also carries meanings that are not translatable. “Things” do not mean the same in different places. Comparing cultures becomes problematic.     

Introduction

Amongst recent debates about whether it is preferable to campaign for gender mainstreaming or diversity mainstreaming this paper makes the case that both proposals involve fields of contestation. Either reform, it argues, could be taken in anti‐progressive directions. Hence, we redirect attention to the processes and practices that give an initiative content and shape, which we call the politics of “doing”. The argument here is that the actual “doings” involved in producing reform initiatives are key sites for social change. Hence, in order to produce reforms responsive to the needs and wishes of diverse groups of women, attention ought to be directed to ways of making those “doings” inclusive and democratic. Specifically we highlight the importance of privileging the views of marginalized women in any such policy deliberations and respecting their perspectives on the usefulness of appeals to identity. We introduce the concepts of “coalitions of engagement” and “deep listening” to generate discussion around these contentious issues.     

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.