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Profile: Robin M. James (University of North Carolina, Charlotte)
  1. Robin M. James (2009). &Quot;autonomy, Universaltiy, and Playing the Guitar: On the Politics and Aesthetics of Contemporary Feminist Deployments of the 'Master's Tools'&Quot;. Hypatia 24 (4):77-100.
    Some feminists have argued that the “master's tools” cannot be utilized for feminist projects. When read through the lens of non-ideal theory, Judith Butler's reevaluation of “autonomy” and “universality” and Peaches's engagement with guitar rock are instances in which implements of patriarchy are productively repurposed for feminist ends. These examples evince two criteria whereby one can judge the success of such an attempt: first, accessibility and efficacy; second, that the use is deconstructive of its own conditions.
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  2. Robin M. James (2007). Deconstruction, Fetishism, and the Racial Contract: On the Politics of "Faking It" in Music. CR 7 (1):45-80.
    I read Sara Kofman's work on Nietzsche, Charles Mills' _The Racial Contract_, and Kodwo Eshun's Afrofuturist musicology to argue that most condemnations of "faking it" in music rest on a racially and sexually problematic fetishization of "the real.".
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  3. Robin M. James (2005). Gender and Aesthetics. Teaching Philosophy 28 (2):198-200.