In this paper, I offer a situated perspective on the political and semiotic landscapes of the circulation of racist and antiracist images and texts in and around a dark-skinned female character, Adelaide, in the popular Brazilian TV show Zorra Total. I aim to differ and defer the character as a sign, in order to undermine the character’s hegemonic frame of interpretation. First, I contextualize some resources used in a typical episode, including the character’s performance as a trajectory of racist (...) signs about the black woman’s body. Next, I discuss the contemporary circulation of the character, confronted by the experience of discussing this character in an undergraduate classroom. In conclusion, I argue that by exposing trajectories of the black female body, it is possible to gather together its fragmented signs as a multi-layered and overlapping set, and I identify these trajectories as a blind spot in the history of Brazilian racism. (shrink)

I assess representations of black women's derrieres, which are often depicted as grotesque, despite attempts by some black women artists to create a black feminist aesthetic that recognizes the black female body as beautiful and desirable. Utilizing a black feminist disability theory, I revisit the history of the Hottentot Venus, which contributed to the shaping of this representational trope, and I identify a recurring struggle among these artists to recover the “unmirrored” black (...) female body. (shrink)

I assess representations of black women's derrières, which are often depicted as grotesque, despite attempts by some black women artists to create a black feminist aesthetic that recognizes the black female body as beautiful and desirable. Utilizing a black feminist disability theory, I revisit the history of the Hottentot Venus, which contributed to the shaping of this representational trope, and I identify a recurring struggle among these artists to recover the "unmirrored" black (...) female body. (shrink)

I assess representations of black women's derrieres, which are often depicted as grotesque, despite attempts by some black women artists to create a black feminist aesthetic that recognizes the black female body as beautiful and desirable. Utilizing a black feminist disability theory, I revisit the history of the Hottentot Venus, which contributed to the shaping of this representational trope, and I identify a recurring struggle among these artists to recover the “unmirrored” black (...) female body. (shrink)

Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter-hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos (...) of shame in order to reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self-love, and beauty. (shrink)

This essay is an attempt to plumb the conventions which exist at a specific historical moment in both the aesthetic and scientific spheres. I will assume the existence of a web of conventions within the world of the aesthetic—conventions which have elsewhere been admirably illustrated—but will depart from the norm by examining the synchronic existence of another series of conventions, those of medicine. I do not mean in any way to accord special status to medical conventions. Indeed, the world is (...) full of overlapping and intertwined systems of conventions, of which the medical and the aesthetic are but two. Medicine offers an especially interesting source of conventions since we do tend to give medical conventions special “scientific” status as opposed to the “subjective” status of the aesthetic conventions. But medical icons are no more “real” than “aesthetic” ones. Like aesthetic icons, medical icons may iconographic in that they represent these realities in a manner determined by the historical position of the observers, their relationship to their own time, and to the history of the conventions which they employ. Medicine uses its categories to structure an image of the diversity of mankind; it is as much at the mercy of the needs of any age to comprehend this infinite diversity as any other system which organizes our perception of the world. The power of medicine, at least in the nineteenth century, lies in the rise of the status of science. He conventions of medicine infiltrate other seemingly closed iconographic systems precisely because of this status. In examining the conventions of medicine employed in other areas, we must not forget this power.One excellent example of the conventions of human diversity captured in the iconography of the nineteenth century is the linkage of two seemingly unrelated female images—the icon of the Hottentot female and the icon of the prostitute. In the course of the nineteenth century, the female Hottentot comes to represent the black female in nuce, and the prostitute to represent the sexualized woman. Both of these categories represent the creation of classes which correspondingly represent very specific qualities. While the number of terms describing the various categories of the prostitute expanded substantially during the nineteenth century, all were used to label the sexualized woman. Likewise, while many groups of African blacks were known to Europeans in the nineteenth century, the Hottentot remained representative of the essence of the black, especially the black female. Both concepts fulfilled an iconographic function in the perception and the representation of the world. How these two concepts were associated provides a case study for the investigation of patterns of conventions, without any limitation on the “value” of one pattern over another. Sander L. Gilman is professor of Humane Studies in the Department of German Literature and Near Eastern Studies and professor of Psychiatry in the Cornell Medical College, Cornell University. He is the author or editor of numerous studies of European cultural history with a focus on the history of stereotypes. In addition, he has coedited Degeneration with J. E. Chamberlin. His study Jewish Self-Hatred is forthcoming. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fitness, Fatness, and Aesthetic Judgments of the Female Body:What the AMA Decision to Medicalize Obesity means for other Non–Normal Female BodiesSara R. Jordan“I’ll be happy to refer you to our dietician to get you on a program to help you get your weight under control before it becomes a problem”.As my new physician spun around out of the examination room door, my head spun faster. I (...) had heard the phrase “get your weight under control” twice that morning, but the contexts in which the phrase was uttered could not have been more different.At 7:30 a.m., my fitness trainer was imploring me to get my weights under control as I struggled under a bar, laden with slightly less than my body weight, to do a final set of front squats. At 11:15 a.m., my new general practitioner was imploring me to get my weight under control, by which he meant to learn how to reduce my body mass index (BMI) to match the chart prominently displayed on his office wall. The exhortation to get my weight under control meant such radically different things in these two contexts that it was difficult to comprehend the meaning of the phrase.I am 5’4” and 158 pounds. This gives me a BMI of 27.3, which means that I am considered overweight; right in the middle of the category of overweight. Or, according to the definition of the BMI found on the calculator pinned to the National Heart Lung and Blood Institutes (NHLBI) webpage, I am over fat. If the BMI is, “a measure of body fat based on height and weight that applies to adult men and women” then I carry a health–threatening percentage of body fat. If my fitness trainer, with his 12 point skin–fold caliper test is correct, my body fat percentage of 17% is within the limits expected of female (non–endurance) athletes. In terms of health, then, I am a paradox: according to one standard, I am healthy and fit, according to another, I am unhealthy and fat.As this new physician picked apart my weight, suggesting I should lose between 15 and 20 pounds to bring myself to “full health”, I found myself quite annoyed. He was a small, rail thin, man with greying hair, tired eyes, unpressed khakis, and a beaten pair of black–ish grey “Crocs” on his feet. He looked disheveled and as if he had not seen the inside of a weights room in his life. As I listened to him address my history, current vitals, and how being overweight in my 30s could lead to being [End Page 101] “fat and 40”, I looked him over and made a snap judgment of “I could bench (press) you [right out this window]”. While I was angry with his delivery, I tried to remind myself that he was an overworked physician in a multi–lingual office, trying to operate under a new paradigm in healthcare policy, practice, and diagnostic categories. Specifically, prompted by the medicalization of the condition of obesity by the American Medical Association, my physician was reflecting the professional wisdom that I suffer from a condition needing preventive treatment. He was trying to be a good practitioner to recommend preventive treatment, but to me, he was being a terrible physician.The AMA Declares Obesity a DiseaseThe declaration by the American Medical Association in 2013 that the condition of being obese is one that requires medical treatment is one that I, on the face of it, support. By inviting the medicalization of the condition, the AMA opens the door for individuals who wage a deeply personal battle with their weight to find support in their physicians’ offices and from their insurance companies. Yet, the blunt tools that are used to assess these conditions raise my ire, emotionally and intellectually.Intellectually, the use of the BMI calculator for snap diagnosis of all individuals makes easy sense. It is an easily comprehended tool and, for a normally distributed population, such a simple tool is an excellent choice. But, it stands to treat outliers like me poorly. Outliers, such as particularly fit... (shrink)

Winner, 2020 Body and Embodiment Best Publication Award, given by the American Sociological Association Honorable Mention, 2020 Sociology of Sex and Gender Distinguished Book Award, given by the American Sociological Association How the female body has been racialized for over two hundred years There is an obesity epidemic in this country and poor Black women are particularly stigmatized as “diseased” and a burden on the public health care system. This is only the most recent incarnation of (...) the fear of fat Black women, which Sabrina Strings shows took root more than two hundred years ago. Strings weaves together an eye-opening historical narrative ranging from the Renaissance to the current moment, analyzing important works of art, newspaper and magazine articles, and scientific literature and medical journals—where fat bodies were once praised—showing that fat phobia, as it relates to Black women, did not originate with medical findings, but with the Enlightenment era belief that fatness was evidence of “savagery” and racial inferiority. The author argues that the contemporary ideal of slenderness is, at its very core, racialized and racist. Indeed, it was not until the early twentieth century, when racialized attitudes against fatness were already entrenched in the culture, that the medical establishment began its crusade against obesity. An important and original work, Fearing the Black Body argues convincingly that fat phobia isn’t about health at all, but rather a means of using the body to validate race, class, and gender prejudice. (shrink)

The youth in South Africa are subject to unemployment and the pressure to fit into society. The unemployment rate in South Africa is high; therefore, some find themselves desperate for employment and often find themselves hoping and praying for a miracle; hence, the number of churches in South Africa is increasing. People go to church to be prayed for by ministers in a hope to better their lives and that of their families. Some of these young South Africans became victims (...) of sexual harassment, rape and gender-based violence (GBV) at the hands of their pastors. The aim of this article was to challenge the church in identifying ways to break the cycle of perpetrators among pastors and help find the role pastoral counsellors can play regarding both victims and offenders to prevent history from repeating itself. Domestic violence and abuse in South Africa have been investigated by various disciplines. One of the most difficult realities for the church is the existence of clergy who abuse their female congregants. The article will create an awareness of violence against black women at the temple of black churches which is vindicated by Christian faith as miracle and healing. The violence against black women at the temple of the churches is patriarchal violence as male clergy sacrifice them in the name of faith using the bible. Some scholars of Black theology of liberation (BTL) argue that Elmina Castle had a chapel where women trading took place. Elmina Castle had a dungeon that kept black women who were waiting to be sold to a trade master. This article also exposed patriarchal violence that has been engraved on black women using the Bible by male clergy and connected Elmina Castle to Bishops Israel Makamu and Stephen Bafana Zondo to see the position of black women in these temples. Black theology of liberation was used to expose oppression of black women, by black men, in black churches.Contribution: This article aimed to challenge pastoral care givers to remain ethical during pastoral care and counselling to those in need, especially young women. This study was a literature review study. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:94 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. Jennifer C. Nash Black Lactation Aesthetics: Remaking the Natural in Lakisha Cohill’s Photographs In her 1992 essay “Selling Hot Pussy,” bell hooks recounts entering a “late night dessert place” with a group of colleagues who all began to laugh at a shelf of “gigantic chocolate breasts complete with nipples— huge edible tits.”1 For hooks, the chocolate (...) Black breasts are mammy imagery, a “displaced longing for a racist past when the bodies of black women were a commodity, available to anyone white who could pay the price.”2 For her white colleagues, the chocolate breasts are simply comical. Her colleagues’ response—their willingness to consume, laugh, and ignore racial, gendered, sexual violence—constitutes the racialized visual marketplace that hooks’s essay seeks to both describe and dismantle. The chocolate breasts become a rhetorical point of entry into hooks’s critical engagement with a visual marketplace where Black female bodies are delectable and disposable objects. hooks’s analysis has become part of a canon of Black feminist work exploring how Black breasts get taken up as signs of pathology, “excess flesh,” sexual deviance, hypersexuality, and alterity.3 From histories of the so-called Hottentot Venus and the preoccupation with her breasts, buttocks, and genitalia—including 1. bell hooks, “Selling Hot Pussy,” Black Looks: Race and Representation (Boston: South End Press, 1992), 61. 2. hooks, 61–62. 3. See Nicole R. Fleetwood, Troubling Vision: Performance, Visuality, and Blackness (Chicago: University of Chicago Press, 2010). Jennifer C. Nash 95 signature works by Zine Magubane, Janell Hobson, Samantha Pinto, and T. Denean Sharpley-Whiting4 —to scholarship on the construction of black women’s imagined corporeality as “social dead weight” by Sabrina Strings, Black feminists have given critical attention to the construction of Black breasts as the location of Black women’s imagined racial and sexual difference.5 If Black breasts have been culturally and scientifically constructed as deviant, excessive, pornographic, and desirous, they have largely been uncoupled from an identification with nutrition—from the capacity to sustain and feed babies—except their connection with wet nursing and their conscription into maternal labor for white children. In this imaginary, Black breasts provide nutrition only when recruited as white property, with their nurturance capacity oriented toward white health and futurity. We might understand the cultural inability to interpret Black breasts as nurturing Black life as part of what Andrea Freeman describes as the “unmothering” of Black women, the unseeing of Black maternity except to elevate it as a symbol of brokenness or pathology.6 But in recent years, as I argue in my forthcoming book Birthing Black Mothers, Black breasts have entered the US cultural imagination anew. Black breasts are increasingly viewed as in need of support through seemingly benign state interventions to encourage Black breastfeeding. Indeed, Black breasts are recruited by an array of actors who often find themselves strangely aligned to champion Black breastfeeding —including NGOs, public health campaigns, and reproductive justice efforts spearheaded by Black feminists—precisely because Black breastfeeding is thought to perform urgent political, emotional, and 4. See Zine Magubane, “Which Bodies Matter? Feminism, Poststructuralism, Race, and the Curious Theoretical Odyssey of the ‘Hottentot Venus,’” Gender & Society 15, no. 6 (2001): 816–834; Janell Hobson, Venus in the Dark: Blackness and Beauty in Popular Culture (New York: Routledge, 2005); Samantha Pinto, Infamous Bodies: Early Black Women’s Celebrity and the Afterlives of Rights (Durham, NC: Duke University Press, 2020); and T. Denean Sharpley-Whiting, Black Venus: Sexualized Savages, Primal Fears, and Primitive Narratives in French (Durham, NC: Duke University Press, 1999). 5. See Sabrina Strings, Fearing the Black Body: The Racial Origins of Fat Phobia (New York: NYU Press, 2019). 6. Andrea Freeman, “Unmothering Black Women: Formula Feeding as an Incident of Slavery,” Hastings Law Journal 69, no 1545 (2018): 1545–1606. 96 Jennifer C. Nash public health work. Black breastmilk is increasingly described as a crucial technology of Black life, one that supports Black infant life and inoculates it physically, psychically, and even spiritually against the array of anti-Black forces that wound and violate. The work that Black breast milk is thought to perform includes its posited... (shrink)

Lands and bodies are often conceptualized as exhaustible objects and property within settler-colonial and neoliberal ideologies. These conceptualizations lead to underdevelopment of understandings of lands and bodies that fall outside of these ascriptions, and also attempt to actively obscure the pervasive ways in which settler colonialism violently reinscribes itself on the North American landscape through the murder and disappearance of Black and Brown women's bodies. In this article, I will argue that the continual murder and disappearance of Black (...) and Brown women in North America facilitate the successful functioning of ongoing settler-colonial systems and projects. This violence creates and reinforces the functionality of Black/Brown bodies as the territory upon which settler identity and futurity gains traction, indeed, requires. (shrink)

The primary focus of this article is a reading of Venus Hottentot 2000, a performance-text that reperforms the hyperbolization of Black female sexuality. In using the corporeality of the Black body as a strategic site of postcolonial resignification, this performance is moreover an interrogation of the colonial gaze that has fetishized the Black body. In foregrounding Venus Hottentot 2000 as a point of departure for exploration, the article proceeds by delving broadly into the representational (...) history of the ‘Hottentot’ female. Furthermore, to facilitate an understanding of the constitutive power of the colonial gaze and the possibilities of subverting and displacing that gaze from that of a postcolonial diasporic aesthetic practice, the article frames the postcolonial feminist reading of Venus Hottentot 2000 via an investigation of the processes by which the ‘Hottentot’ female has been festishized and scopically objectified within colonial discourse - processes whereby the ‘Hottentot’ female became a signifier of Black female sexuality. The article concludes by reading this performance as an example of a postcolonial ‘cultural war of positioning’, which offers moreover a contemporary rescripting of Black subjectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sacrificial Ram and the Swan QueenMimetic Theory Fades to BlackBrian Collins (bio)“We speak of a ‘black’ mirror. But where it mirrors, it darkens, of course, but it doesn’t look black, and that which is seen in it does not appear ‘dirty’ but ‘deep.’”—Ludwig Wittgenstein, Remarks on ColorThis paper explores the ways in which male and female bodies become the sites of mimetic desire and ritual (...) violence in Darren Aronofsky’s two companion films The Wrestler (109 min, Wild Bunch, 2008, DVD) and Black Swan (108 min, Fox Searchlight, 2010, DVD). Both films (which were originally intended to be one film, explaining their thematic consistency)1 share three elements. First, both explore cultural forms, wrestling and dance, respectively, that punish the body of the performer in a spectacular way. Second, both films end with the ritualistic dying (if not the death) of the main character. Third, in both films, this dying is accompanied by a kind of transformation that can only be called “becoming-animal.”2 Though this last point is much easier to demonstrate [End Page 207] in the case of Black Swan, I will argue that this is also true for The Wrestler. In interpreting these films, I will rely mainly on René Girard’s ideas about mimetic desire and the surrogate victim mechanism, supplemented by Slavoj Žižek’s notion of symbolic death. Symbolic death or “second death” is Žižek’s Hegelian appropriation of the psychoanalytic death drive. The death drive holds a special place for Girard, since he considers Freud’s formulation of the death drive his admission that the Oedipal complex cannot explain the compulsion to repetition, an admission for which he credits Freud’s honesty. In this paper, I demonstrate that pseudo-masochism, Girard’s alternate theory of repetition, and the Žižekian second death are both present in Black Swan and The Wrestler, and that each film plays on the animal/human distinction and ritual transformations of the body to explore these themes.Part One: The Sacrificial Ram“The function of the wrestler is not to win: it is to go exactly through the motions which are expected of him.”—Roland Barthes, “The World of Wrestling,” MythologiesThe Pseudo-Masochistic Body I: Becoming-RamWilliam Golding’s novel Pincher Martin: The Two Deaths of Christopher Martin (London: Faber and Faber Limited, 1956) follows a bitter, selfish, and intransigent sailor who finds himself clinging to a rock in the middle of the ocean, the sole survivor of a shipwreck, only to slowly learn that he is not a survivor at all, but is rather trapped like a character from The Twilight Zone in the utter loneliness of the timeless time between his titular “two deaths.” The first death comes when Martin goes down with his ship and the second comes when he is annihilated (possibly; the ending is ambiguous) by the “black lightning,” which Terry Eagleton identifies in his analysis of the book as “the fire of God’s ruthless love, which burns up those who cannot bear it.” Martin’s misotheism is his last defense against the terrifying power of love, and he continues to defy God as the black lightning engulfs him.3 Why the two deaths? Martin is unable to die properly the first time, Eagleton argues, “because he is incapable of love. Only the good are capable of dying. Martin cannot yield himself up to death because he has never been able to yield himself up to others in life.”4 [End Page 208]Randy “The Ram” Robinson, born Robin Ramzinski, (Mickey Rourke), the protagonist of The Wrestler, is, like Pincher Martin, between two deaths, isolated from the rest of humanity because of his inability to connect with others. But while Pincher Martin is defiant and bound for a self-created Hell because of his deliberate rejection of love, Ram is a much more sympathetic character—though no less doomed—because he tries but fails time after time to accept the love of those who could save him. Pincher Martin’s self-created internal obstacle is his hatred of God, externalized through his encounter with the black lightning. But in Ram’s case... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:34 Feminist Studies 47, no. 1. © 2021 by Feminist Studies, Inc. James Bliss Defense, Redemption, Care: Black Feminist and Queer Studies Literary theory continues to be received by some as if it were an alien or antagonistic presence from whose leaden and reductive grasp it is imperative to keep literature protected. It is rare, however, that it is the literary, as such, that is being protected, rather (...) than a certain comfortable accommodation with it—not irreducible strangeness and surprise, but the security of knowing that one’s expectations will be fulfilled and one’s competence as a reader rewarded. The pleasures of accommodation and immediate assimilation are the first that theory asks us to forego—which may do as much to make it seem forbidding and “inhumane” as anything it actually proposes. —Elizabeth W. Bruss1 I. Theory Not for the first time, we find ourselves building new genres. Pursuing new writings. Not for the first time, the theoretical and the literary envelope, eclipse, and rearticulate one another. What’s more, the theoretical has been a mode of artistic practice for so long that every page is a palimpsest, a sedimentation of sedimentations of conceptual frames— swirled, spiraling genealogies. Fluent in invented tongues, in the idioms 1. Elizabeth W. Bruss, Beautiful Theories: The Spectacle of Discourse in Contemporary Criticism (Baltimore, MD: Johns Hopkins University Press, 1982), 483. 35 James Bliss Books Discussed in This Essay Black Feminism Reimagined: After Intersectionality. By Jennifer C. Nash. Durham, NC: Duke University Press, 2019. None Like Us: Blackness, Belonging, Aesthetic Life. By Stephen Best. Durham, NC: Duke University Press, 2018. Sensual Excess: Queer Femininity and Brown Jouissance. By Amber Jamilla Musser. New York: NYU Press, 2018. Queer Times, Black Futures. By Kara Keeling. New York: NYU Press, 2019. of invention, in the fluid looseness of disintegrated discourses, our works turn singular. The monograph as signature. The page promises to freeze the text, the object, the artwork, the lifeworld, the performance, and in that stillness to teach us its movements. New moves, secret passageways, lines of escape and gaps in the walls of institutions that die, dissolve, and ossify around and inside us. And here we are. The permanent apocalypse that racial capitalism has been for most life has reached the quadrangles of the college campus. What are we even doing anymore? In the great and dreadful remaking of higher education, as students face permanent indebtedness as the cost of entry into a world without work, what is the ethical impetus for our researches and the systems within which we publish? What are the ethics of critical cultural studies in a debt mine? By what arithmetic do we benefit the students we teach to “steal from the university ” when the university is so much more adroit at stealing from them (and us)? At the same time that the contours of our professional lives are, apparently, unraveling, we find ourselves in (another) new renaissance in Black studies and Black study. We find ourselves within (another) new moment of textual production around the trio of race/gender/sexuality— that is, around Blackness or around Black feminism. 36 James Bliss Or, Black invention—where the Black female, femme, feminine, and maternal operate as synecdochic figures for a species of poiēsis.2 In the 1980s, Jacques Derrida wryly called California the “state of theory” as a function of its tectonic instability.3 In the 2010s, Blackness became the state of theory as a function of its coincidence of death and life, ending and beginning, absence and excess, apocalypse and invention. Blackness, in this instance, is as material as it is metaphor, a projection of meaning across both the great ephemeral skin and the body as flesh. This piece emerges from a sense of the necessity and the hazards of an intellectual history of a moment during which, to take a suggestive phrase from Jared Sexton, “Blackness is theory itself, anti-blackness the resistance to theory.”4 But already language presents an issue. What is the relationship between Sexton’s “theory” and the “theory” found in the epigraph from Elizabeth Bruss? Or, between Sexton’s “theory” and Lewis R. Gordon’s “theory,” as Sexton borrows from Gordon’s “Theory in... (shrink)

: Carrillo Rowe provides an analysis of Monster's Ball as a cultural narrative of white masculinity's redemption from the atrocities of racism through an interracial love story that erases white masculinity's national history and implication in a racist past while it displaces the black female body from that history and identification with the struggle for reparation. The nexus of sex, race, and desire is used to produce a new whiteness consistent with the emerging national multicultural logics of (...) color blindness by undermining the narrative, memory, identity, and racing of bodies grounding the logic of reparation. (shrink)

Carrillo Rowe provides an analysis of Monster's Ball as a cultural narrative of white masculinity's redemption from the atrocities of racism through an interracial love story that erases white masculinity's national history and implication in a racist past while it displaces the black female body from that history and identification with the struggle for reparation. The nexus of sex, race, and desire is used to produce a new whiteness consistent with the emerging national multicultural logics of color (...) blindness by undermining the narrative, memory, identity, and racing of bodies grounding the logic of reparation. (shrink)

Although clinical understandings of self-injury, the deliberate mutilation of body tissue, have developed significantly since the phenomenon was first studied, the predominant stereotype of who self-injures is still White, teenage girls.1 White girls as well as White women are, indeed, at risk for SI, and sociocultural explanations appealing to oppressive socialization—particularly the influence of Western beauty norms—have been offered to explain their high rates of SI. Yet evidence exists to challenge this conception that SI is exclusively a White, (...) class='Hi'>female issue: Black women, South... (shrink)

Although it has been shown that immersive virtual reality can be used to induce illusions of ownership over a virtual body , information on whether this changes implicit interpersonal attitudes is meager. Here we demonstrate that embodiment of light-skinned participants in a dark-skinned VB significantly reduced implicit racial bias against dark-skinned people, in contrast to embodiment in light-skinned, purple-skinned or with no VB. 60 females participated in this between-groups experiment, with a VB substituting their own, with full-body visuomotor (...) synchrony, reflected also in a virtual mirror. A racial Implicit Association Test was administered at least three days prior to the experiment, and immediately after the IVR exposure. The change from pre- to post-experience IAT scores suggests that the dark-skinned embodied condition decreased implicit racial bias more than the other conditions. Thus, embodiment may change negative interpersonal attitudes and thus represent a powerful tool for exploring such fundamental psychological and societal phenomena. (shrink)

Much more than their machinic reality, current iterations of AI rely on imagined divisions of human and non-human properties and skills that have genealogical ties to colonization. For this reason, research efforts have recently been made to historicize these imaginaries, connecting them to colonial ideals that delegate black and brown colonized people into the realm of the non-human. Atanasoski and Vora (Surrogate humanity. Race, robots and the politics of technological futures, Duke, Durham and London, 2019) have called this a (...) “surrogate humanity”, where narratives of autonomous technologies function to disappear precisely the formerly colonized peoples that are enveloped in its production process. At the same time, the gendered and racialized roots of this maternal figure represents an opportunity to uncover and critique the invisibilization of embodied resources necessary to produce AI, precarious bodies labouring to produce algorithmic infrastructures in a manner that can be considered in a genealogy of carework and reproduction. These genealogies complicate the detachment suggested by the surrogate figure and go beyond it to proclaim a more generative function of the relationship between the black maternal figure and AI. The article analyses Tabita Rezaire’s multi-media artwork Sugar Walls Teardom to think through decolonial and queer renderings of the black female bodies upon which technological imaginaries rest, to extend beyond AI surrogacy and towards notions of kinship, care and world-making by producing an AI aesthetics that is relational, embodied, and celebratory of other ways of liveness. (shrink)

Carrillo Rowe provides an analysis of Monster's Ball as a cultural narrative of white masculinity's redemption from the atrocities of racism through an interracial love story that erases white masculinity's national history and implication in a racist past while it displaces the black female body from that history and identification with the struggle for reparation. The nexus of sex, race, and desire is used to produce a new whiteness consistent with the emerging national multicultural logics of color (...) blindness by undermining the narrative, memory, identity, and racing of bodies grounding the logic of reparation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Standing at the Intersections: Navigating Life as a Black Intersex ManSean Saifa WallAs I sit down to write this narrative, my mind is reflecting on the past year. This year has seen numerous protests against state–sanctioned violence with the declaration that “Black Lives Matter”. As a Black intersex man, I have witnessed the impact of state–sanctioned violence on my family and my community, both from the (...) police state and medical community. I charge the police state and the medical community with state– sanctioned violence: Each targets non–normative bodies—the former through incarceration and execution, and the latter by means of surgical and hormonal intervention. As a Black intersex man, I stand at the intersection bearing witness to how this violence has incarcerated my friends and loved ones as well as being subjected to medically unnecessary surgical intervention. Although this is where I stand now, both socially and politically, I have not always existed here.I was born in the winter of 1978 at Columbia–Presbyterian Hospital in New York City. I was the youngest of five children and one of three children in my family who were born with an intersex trait now known as androgen insensitivity syndrome (AIS). At the time, AIS was referred to as “testicular [End Page 117] feminization syndrome.” Upon receiving my medical records years later at the age of twenty–five, I noticed scribbling and a barrage of notes indicating the process by which the doctors assigned my gender as female. Although I had ambiguous genitalia, which caused some initial confusion among the doctors, XY chromosomes were not enough for me to be raised as male. My mother was told I would be raised as a girl and, according to the medical records, “function as such.”Unlike my sisters who were also born with AIS, my mom was not swayed by the surgical recommendations doctors made about my body. As a matter of protocol, my sisters’ gonads were removed in infancy, however, my mom made the decision that my testes would remain with me until they had to be removed.Because of intense pain in my groin area, my testicles were removed when I was thirteen years old. The pain that I felt following the surgery was perhaps the worst pain that I have experienced in my entire life. After surgery, my pediatrician prescribed estrogen and Provera as a hormonal replacement regimen. Fatty deposits changed the shape and contours of my face. Once robust and chiseled thighs now harbored cellulite. The beginnings of facial hair and prominent body hair became wispy and nonexistent. What was hard and defined became soft.At no point did anyone ask me what I wanted to do with my body.I actually missed the effects of my natural testosterone such as a deepening voice, increased hair and muscle mass; when I asked if I could take both testosterone and estrogen after surgery, my mother remarked, “You would look too weird.”The hormone therapy was coupled with intense social conditioning. I feel as if the social conditioning for young women raised with AIS is suffocating. When doctors prescribed hormones for me to take, my mother constantly reminded me how “beautiful” the little yellow pills would make me. As a means of reassurance, my pediatrician told my mom that “a lot of fashion models” have AIS and that I would most certainly be beautiful. In our dominant US culture, gender norms can already be oppressive, but for women with AIS, there is the impact of gender norms and the underlying fear that women with AIS are not really women since they have XY chromosomes. I did not succumb to the pressure to be more feminine, but actually gravitated toward masculinity. Before transitioning to live as a man, I considered myself a butch woman. When I came out of the closet at fourteen years old and presented as a masculine young woman, I never felt safe. Because I dated women who were more feminine than I, my relationship with these women seemed threatening to men who repeatedly reminded me through harassment and threats that “I was not a man.” Of course, I wasn’t trying to be a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Becoming Human: Matter and Meaning in an Antiblack World by Zakiyyah Iman JacksonBernabé S. Mendoza (bio)Zakiyyah Iman Jackson, Becoming Human: Matter and Meaning in an Antiblack World New York: By New York University Press, 2020, 320 pp. ISBN 978-1-4798-9004-0the radical work of black feminism is to upend Western dualistic ways of thinking that structure our understanding of what it means to be human. In Becoming Human: Matter (...) and Meaning in an Antiblack World, Zakiyyah Iman Jackson troubles the dominant dualistic distinction of the human and the animal. Jackson argues that antiblackness undergirds Enlightenment discourses on the human-animal divide such that blackness cannot be extricated from the very concept of the animal because both “are not only interdependent representations but also entangled concepts” (28). Central to Jackson’s argument on the animalization of blackness is the notion of “ontologized plasticity,” which posits the being of black(ened) people as infinitely malleable and mutable matter and further points to the fluidification of form and “fleshly existence.” Far from seeing the human as a category that has “ontological integrity,” as scholars in the fields of animal studies, new materialisms, and posthumanism presuppose, Jackson instead seeks to redefine the concept of the human through the theorization of blackness (16). She points out that such theorization has been, for such scholars, a lacuna and the “space of the unthought,” which thus marks her intervention in these fields. [End Page 211]The author offers a sustained engagement with the knowledge claims of science and philosophy, reading them through and against the intellectual contributions of black feminist writers and artists. She draws from such luminaries as Toni Morrison, Nalo Hopkinson, Octavia Butler, Audre Lorde, and the artist Wangechi Mutu to show the ways in which they reject an enclosed notion of the human that is defined only by keeping the racialized other at bay and in a degraded animalized and liquified state. As such, she showcases how black feminist visual and literary culture “theorizes and philosophizes” and reveals the faulty, antiblack premises upon which science and philosophy establish their claims of knowledge on the human.Offering a materialist theory of black ontology and temporality, Jackson poses three main arguments on the racialization of the human-animal distinction. The first is the aforementioned notion of ontologized and black(ened) plasticity that speaks to the constant modulation and manipulation of black matter as it relates to gender, sexuality, and sexual reproduction. Reading US slavery as an experimental playground for testing the limits of the human, Jackson argues that “black female f lesh... functions as the limit case of ‘the human’ and is its matrix-figure” (4). She defines plasticity as a “praxis that seeks to define the essence of a black(ened) thing as infinitely mutable in antiblack, often paradoxical sexuating terms as a means of hierarchically delineating sex/gender, reproduction, and states of being more generally” (11). There is, in other words, an inversion that takes place in that it is only through opposition and the imposed instability and illegibility of blackness—of black matter and the black mater(nal) situated as “chaos by design”—that such categories as “woman,” “mother,” and “female body” can themselves take hold and become intelligible forms (11). Jackson engages with the work of Hortense Spillers and Sylvia Wynter in order to argue that “Man,” as the object of analysis within liberal humanism, “produces an untenable dichotomy—‘the human’ versus ‘the animal,’ whereby the black(ened) female is posited as the abyss dividing organic life into ‘human’ or ‘animal’ based on wholly unsound metaphysical premises” (12). This claim on the centrality of the black female in the plasticization of blackness is given support in chapter 2, which focuses on Nalo Hopkinson’s speculative novel Brown Girl in the Ring, where plasticity gives way to opacity.In this chapter, Jackson explores the ways in which the black female body, as that which is opaque and nonrepresentable within the “dominant grammar of representation,” shatters what she argues is Heidegger’s metaphysical and hierarchical ordering of human, animal, and world. In exploring “how our received conceptions of being hinges on our im/perception of black mater... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, in (P)rescription (...) Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

Written over a span of more than two decades, the essays by Iris Marion Young collected in this volume describe diverse aspects of women's lived body experience in modern Western societies. Drawing on the ideas of several twentieth century continental philosophers--including Simone de Beauvoir, Martin Heidegger, Luce Irigaray, Julia Kristeva, and Maurice Merleau-Ponty--Young constructs rigorous analytic categories for interpreting embodied subjectivity. The essays combine theoretical description of experience with normative evaluation of the unjust constraints on their freedom and opportunity (...) that continue to burden many women. The lead essay rethinks the purpose of the category of "gender" for feminist theory, after important debates have questioned its usefulness. Other essays include reflection on the meaning of being at home and the need for privacy in old age residences as well as essays that analyze aspects of the experience of women and girls that have received little attention even in feminist theory--such as the sexuality of breasts, or menstruation as punctuation in a woman's life story. Young describes the phenomenology of moving in a pregnant body and the tactile pleasures of clothing. While academically rigorous, the essays are also written with engaging style, incorporating vivid imagery and autobiographical narrative. On Female Body Experience raises issues and takes positions that speak to scholars and students in philosophy, sociology, geography, medicine, nursing, and education. (shrink)

Octavia Butler depicts a character with physical or mental disability in each of her works. Yet scholars hesitate to discuss her work in terms that emphasize the intersection with disability. Two salient questions arise: How might it change Butler scholarship if we situated intersectional embodied experience as a central locus for understanding her work? Once we privilege such intersectionality, how might this transform our understanding of the aesthetics of the novel? In this paper, I reorient the criticism of Butler's work (...) such that disability becomes one of the social categories under consideration. I read two prominent analyses of Butler's work because their interpretations—black feminist in orientation—centralize black female identity as a category of analysis. I contend these analyses grapple with ideas that can only be fully understood with disability as an integral portion of the discussion. Since categories of analysis like race, disability, and gender require and create cultural tropes and challenge accepted forms, I outline three components of Butler's aesthetic: open-ended conclusions that frustrate the narrative cohesion associated with the novel form, intricate depictions of power that potentially alienate the able-bodied reader, and contained literary chaos that upends the idea of ontological fixity. (shrink)

Many feminist and queer scholars believe that one way to fight racism, sexism and homophobia is to challenge identity labels---ideas of what it means to be “black,” “gay,” “white,” “woman,” “lesbian.” Biology, however, continues to thwart this political agenda; the Body---the biological reality of skin color and sex chromosomes---makes it difficult to propose the idea that identity labels are merely social constructs, not natural facts. Female bodybuilding is a performance that literalizes the body as a site (...) of artificial construction, of intervention, modification. Furthermore, female bodybuilding is a performance of gender bending---women who construct hypermuscular bodies disrupt social norms of gender, performing a kind of self-styled hermaphroditism that begs the question, “why?” This essay explores how female body builders challenge identity labels of sex and gender because of the fact that their gender transgressions occur at the physiological level of the body. I argue that female bodybuilders parody dominant labeling philosophies of sex, gender, and sexual orientation, challenging our sex/gender paradigm in very unique ways. (shrink)

Current research on construction of the female body focuses on non-Hispanic women in the United States. The idealized Latina body, however, is rapidly becoming commodified and objectified in global popular culture. Using standardized and open-ended surveys and group and individual interviews, the author examines the negotiation of sociocultural ideals and body image by adolescents at the intersection of gender, race, and beauty. These young women hold racist beauty ideals but are flexible when judging the appearance of (...) real-life women. They perceive two competing or complementary prototypes of beauty, one white and one Latina. This study fills a gap in the literature on beauty and the body by examining a non-U.S. sample that does not fit into the usual Black-white dichotomy of race. (shrink)

In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. (...) ‘BBHMM’ is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, but she has previously dealt with themes of rape and revenge in an earlier video, 2010’s ‘Man Down’, and in her lyrics. In this article I explore the multiple and layered ways in which Rihanna, and by extension other female artists of colour, are produced by white feminism as both responsible for perpetrating gender-based violence, and as victims in need of rescue. The effect of such liberal feminist critique, I argue, is to hold black female artists responsible for a rape culture that continually subjects women of colour to symbolic and actual violence. In this context, the fantasy violence of ‘Man Down’ and to a greater extent ‘BBHMM’ dramatises the impossibility of ‘being paid what one is owed’ in a culture that produces women of colour’s bodies, morality and personal trauma as abjected objects of consumption. I read these two videos through the lens of feminist film theory in order to explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how their attachment to a simplistic model of representation conceals and reproduces racialised relations of inequality. (shrink)

Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’. The narrative subject of Bernardine Evaristo's Girl, Woman, Other is black, female and queer in her design of a (...) polyphonic text featuring twelve black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman ; Freeman and Ahmed to analyse Evaristo's novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’. In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman's notion of ‘erotohistoriography’ as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood. (shrink)

High-level improvising musicians master idiosyncratic gesture vocabularies that allow them to express themselves in unique ways. The full use of such vocabularies is nevertheless challenged when improvisers incorporate electronics in their performances. To control electronic sounds and effects, they typically use commercial interfaces whose physicality is likely to limit their freedom of movement. Based on Jim Black's descriptions of his ideal digital musical instrument, embodied improvisation gestures, and stage performance constraints, we develop the concept of a modular wearable MIDI (...) interface to closely meet the needs of professional improvisers, rather than proposing a new generic instrument that would require substantial practice to adapt improvisational techniques already acquired. Our research draws upon different bodies of knowledge, from theoretical principles on collaboration and embodiment to wearable interface design, in order to create a digital vest called Track It, Zip It that features two innovative on-body sensors. Allowing for sound control, these sensors are seamlessly integrated with Black's improvisational gesture vocabulary. We then detail the design process of three TIZI prototypes structured by the outcomes of a performance test with Black, a public performance by a novice improviser during the 2017 International Guthman Musical Instrument Competition, and measurements of sensor responses. After commenting on the strengths and weaknesses of the final TIZI prototype, we discuss how our interdisciplinary and collective process involving a world-class improviser at the very center of the design process can provide recommendations to designers who wish to create interfaces better adapted to high-level performers. Finally, we present our goals for the future creation of a wireless version of the vest for a female body based on Diana Policarpo's artistic vision. (shrink)

This paper has two objectives. The first objective is a decoupling of the African body from ‘blackness’—a discursive formation—that was attached to the body by the slave and the colonial regimes. The second aim is a critique of modern epistemic and epistemological regimes that give ‘blackness’ its modern currency. To achieve these goals, I use phenomenology, a philosophy of self-responsible beginning according to Edmund Husserl, to return to the African body before colonialism and slavery. Through phenomenology I (...) can ‘bracket’ what the above regimes and their legacies have been conditioning the African to see and know about the body. The paper is therefore an attempt at a liberatory epistemology aimed at overcoming what Achille Mbembe has referred to as a ‘dungeon of appearance’. Since ‘blackness’ is continental and diaspora Africans (CADA) seen through discursive colonial eyes, phenomenology provides an epistemological freedom to observe the body in-time. (shrink)

Iris Marion Young, On female body experience: “Throwing like a girl” and other essays, New York: Oxford University Press, 2005, reviewed by Ariella Binik.

This paper makes a number of observations on soteriology, asceticism and the female body in two Indian Buddhist narrative. The first story examined is about the enlightenment of the Buddhist saint Yasas from a collection of verses know as the Anavatapta-gatha, or Songs of Lake Anavatapta. This narrative graphically describes a rotting female corpse and associates this physical corruption with the female body in general. The second story is about a mythical girl from the ancient (...) past found in the Mahayana scripture, the Gandavyuha-sutra. The female protagonist is described as exceedingly beautiful and her beauty functions as a sign of her spiritual superiority and as a means to aid beings. After a summary of these two tales, their soteriological presuppositions are discussed. Next,the effect of Buddhist soteriology upon the construction of gendered bodies in Indian Buddhism is considered. The author argues that the first story represents an ascetic soteriology that sees the female body as corrupt, while the second story displays an alternative devotional soteriology that extols female beauty as linked to virtue and as efficacious for religious development. The paper concludes with the suggestion that the narratives employing the image of the corrupt female body were meant for a male monastic audience; while the Gandavyuha with its devotional soteriology may have been composed with a royal female audience in mind. Thus target audience should be considered when studying Indian Buddhist narratives. (shrink)

The human body can be regarded in at least two ways: objectively, as a physical and organic body; and subjectively, as the center of orientation and lived affective unity. However, this distinction can lose sight of the fact that the ‘lived body’ is not reducible to subjective idiosyncrasies. Trans-individual norms are embodied too, as Michel Foucault and Judith Butler have shown. Phenomenological investigations of normalization and habitualization help bring these two important dimensions of embodiment together and overcome (...) simplistic oppositions between phenomenological and poststructuralist approaches. These investigations lead into issues of female body optimization and control that we take to be characteristic of contemporary neoliberalist embodiment. (shrink)

Book reviewed in this article: Reshaping the Female Body: The Dilemma of Cosmetic Surgery. By Kathy Davis.

Written over a span of more than two decades, the essays by Iris Marion Young collected in this volume describe diverse aspects of women's lived body experience in modern Western societies. Drawing on the ideas of several twentieth century continental philosophers--including Simone de Beauvoir, Martin Heidegger, Luce Irigaray, Julia Kristeva, and Maurice Merleau-Ponty--Young constructs rigorous analytic categories for interpreting embodied subjectivity.

The contentious topic of female circumcision brings together medical science, women’s health activism, media, and national and international policy-making in pursuit of the common goal of eradicating such practices. Referring to these diverse and heterogeneous practices as ‘female genital mutilation’ (FGM), eradicators have then condemned them as ‘barbaric’ and medically harmful to female bodies and sexuality. In presuming that bodies can be separated from their cultural contexts, the anti-FGM discourse not only replicates a nature/culture dualism that has (...) been roundly questioned by feminists in science studies and cultural studies, but has also perpetuated a colonialist assumption by universalizing a particular western image of a ‘normal’ body and sexuality in its quest to liberate women and girls. I use my own story as a circumcised woman to highlight the entanglements of body and culture as presented in these feminist theories of female bodies. (shrink)

Our use of artefacts has at different moments been characterised as either replacing or impoverishing our natural human capacities, or a key part of our humanity. This article critically evaluates the conception of the natural invoked by both accounts, and highlights the degree to which engagement with material features of the environment is fundamental to all living things, the closeness of this engagement making any account that seeks to draw a clear boundary between body and artefact problematic. By doing (...) this I seek to clarify the nature of our embodied relationship with various kinds of artefacts; moving from tools to machines to digital interfaces, I consider their differing potentials to be gathered into the body schema, and thus change our embodied horizons of perception and action. While much research currently seeks to facilitate a more ‘natural’ mode of interacting with technology, I argue that such a mode of interaction does not exist outside the particularity of our relationships with specific objects. As a result, rather than trying to cater to supposedly more natural modes of action and perception, future technologies should aim to enrich our experience with new modes, inviting novel relationships that produce new kinds of sensory and other experience. (shrink)