Come As You Are, After Eve Kosofsky Sedgwick

"This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it. “Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores.

Paranoid reading and reparative reading, or, You're so paranoid, you probably think this introduction is about you

Aineisto on Opiskelijakirjaston digitoimaa ja Opiskelijakirjasto vastaa aineiston käyttöluvist

Come As You Are, After Eve Kosofsky Sedgwick

"This book brings together two pieces of writing. In the first, “After Eve Kosofsky Sedgwick,” Jonathan Goldberg assesses her legacy, prompted mainly by writing about Sedgwick’s work that has appeared in the years since her death in April 2009. Writing by Lauren Berlant, Jane Gallop, Katy Hawkins, Scott Herring, Lana Lin, and Philomina Tsoukala are among those considered as he explores questions of queer temporality and the breaching of ontological divides. Main concerns include the relationship of Sedgwick’s later work in Proust, fiber, and Buddhism to her fundamental contribution to queer theory, and the axes of identification across difference that motivated her work and attachment to it. “Come As You Are,” the other piece of writing, is a previously unpublished talk Sedgwick gave in 1999–2000. It represents a significant bridge between her earlier and later work, sharing with her book Tendencies the ambition to discover the “something” that makes queer inextinguishable. In this piece, Sedgwick does that by contemplating her own mortality alongside her creative engagement with Buddhist thought, especially the in-between states named bardos and her newfound energy for making things. These were represented in a show of her fabric art, “Floating Columns/In the Bardo,” that accompanied her talk, a number of images of which are included in this book. They feature floating figures suspended in the realization of death. They are objects produced by Sedgwick, made of fabric; they come from her, yet are discontinuous with her, occupying a mode of existence that exceeds the span of human life and the confines of individual identity. They could be put beside the queer transitive identifications across difference that Goldberg’s essay explores.

Leitura paranoica e leitura reparadora, ou, você é tão paranoico que provavelmente pensa que este ensaio é sobre você

Tradução do texto "Paranoid Reading and Reparative Reading, or, You’re So Paranoid, You Probably Think This Essay Is About You", de Eve Sedgwick Kosofsky

Violence and affective states in contemporary Latin America

This special issue brings together scholars interested in the analysis of the social, cultural and affective dimensions of violence. The contributions explore the connections between situated experiences of violence and shifting affective states, relations, sensations and contingencies in contemporary Latin America. The articles consider how violence might constitute a nexus for the production of subjectivities and forms of identification, relationality and community, alterity and belonging, in a range of Latin American contexts including Argentina, Brazil, Guatemala, Mexico and in the Mexican diaspora in Spain

Troublesome Masculinities: Masculinity in Trouble

This article explores the notion of troublesome' masculinities that characterise much of the policy discourse and programme thinking on problems of young men and gender. It critiques the dimorphism that shapes this view of young men's gender trouble, and the ‘culturalism’ that constrains the perception of the troubled times in which many young men live. The article argues that young men can be enlisted in the feminist struggle to transform ideologies and institutions of male power, but only by troubling both the notions of masculinity that underpin them as well as the structural inequalities within which they are enmeshed

Gendered, Non-Gendered, Re-Gendered Tools for Spatial Production

The perennial question, “Can design be genderless?” is further complicated by our contingent, nuanced and transient gender identities. Our collective focus is more often upon whether spatial outcomes are gendered, rather than the gender of the processes themselves. In contrast, this paper considers to what extent our making processes are gendered and the role of linguistics in assigning gender to the tools of production. It also asks whether tools can be un-gendered, re-gendered or non-gendered, and reflects upon the need for a collective, critical awareness of the influence of gendered tools over our design processes and outcomes. It asserts the need for spatial producers – of all genders – to use un-gendered, re-gendered or non-gendered tools in order to subvert and disrupt making and maker stereotypes, and as a means critically to assess their practical utility and political influence. The paper was first delivered at the conference 'Architectures and Feminisms', Stockholm, 17-19 November 2016: http://architecturefeminisms.org/ Writing from the perspective of interior architecture educators familiar with the parallels between object-versus-absence-of-an object and exteriority-versus-interiority disciplinary tensions, the author explores the extent to which we are complicit agents of gender assignation: by failing to question both the tactic and explicit identity of the objects or tools used to author space. We do this by examining the role of linguistics in assigning gender to objects, calling into question the extent to which supposedly gendered objects inform the wider social relations of space, forcing us to consider the need for a new lexicon of non-binary spatial syntax. Our analysis also reflects upon the outcomes of a making exercise run during the Conference and a student workshop run at the Royal College of Art. Drawing inspiration from the work of Helene Cixous (1999), the Stockholm workshop began with a piece of provocative prose and invited participating delegates to engage in de-gendering objects and/or making their own gendered/non-gendered objects/voids. As anthropologist Daniel Miller identifies, objects "continually assert their presence as simultaneously material force and symbol. They frame the way we act in the world, as well as the way we think about the world’. (Miller, 1987, p.105) Subsequently, the artefacts produced in both workshops are qualitatively examined using the theoretical tools of constructivism within a feminist analytical framework

Early twentieth-century Vogue, George Wolfe Plank and the "Freaks of Mayfair"

Vogue was one of the most influential fashion magazines of the twentieth century. In the 1920s its British edition, launched in 1916, became a focus for various forms of queer visual and cultural expression. The origins of the related ‘amusing style’, which delighted in camp display, can be traced to the romantic and artistic collaboration between the American artist George Wolfe Plank and the British writer E. F. Benson during World War One. The illustrations that Plank produced for Benson’s book of satirical sketches of life in London’s high society, The Freaks of Mayfair (1916), shed light on the camp images that Plank designed for the covers of both the American and British editions of the magazine. Therefore, Plank can be understood to have played a key role in the development of queer visual culture during the early twentieth century