venres, 1 de abril de 2016


LIBE GARCÍA ZARRANZ  en 452ºF: Journal of Literary Theory and Comparative Literature 14: January 2016



During our last meeting we discussed García Zarranz's proposal for reinvigorating the figure of the 'feminist killjoy' (Ahmed 2010), and arguing for the pleasure of insurrection as a feminist tool:


“In my understanding, the act of being a feminist killjoy means becoming an obstacle or an interruption to episodes of sexist exchange, racial discrimination, and compulsory heteronormativity. These moments disrupt the system momentarily, thus becoming instances of dissent and disorientation: you are not following the right path; you are breaking the flow. I here propose to consider these moments of dissent precisely as moments of joyful insurrection.”


Through a brief presentation of the way in which joy has been theorised by Braidotti, Deleuze, and de Spinoza, the article articulates how the viral nature of joy, that is, it's capacity to spread between people, can be a useful means of conceptualising the feminist project of opposing gender, racial, sexual, and class inequalities. The first sections of the article offer an articulate interrogation of the theory of affect, particularly as it pertains to the ways in which joy can be mobilised as an effective tool for resisting patriarchal demands and oppressions. Further, by invoking Barad and Harraway's respective understandings of diffraction as opposed to reproduction, the article turns to consider how the work of visual artist and photographer KC Adams http://www.kcadams.net/art/photography/phtotal.html can be read as a manifestation of refractive techniques for feminist activism. For García Zarranz, Adams’ work enacts the ‘joyful insurrection’ that interrupts dominant discourses of Otherness.


Prior to the conclusions, García Zarranz poses a series of questions that were the central focus of our discussion: 

What would be the implications of conducting differences and contradictions as potential sites of joyful insurrection? How can we devise sustainable ways to conduct ourselves joyfully as a way to activate action between communities that are often kept apart from each other? What kind of diffractive methodologies could we articulate to keep building an archive of sustainable feminist affects?”

luns, 22 de febreiro de 2016

Reunión do Feminario: 12 febreiro, 2016

"Defying Gravity": Queer Conventions in the Musical Wicked

Stacy Ellen Wolf en Theatre Journal (60) 1, March 2008 (1-21).
http://muse.jhu.edu/journals/tj/summary/v060/60.1wolf.html

 

"Wicked´s distinction […] is in how it uses a very traditional theatre formula, but infuses the formula with newly gendered and queered content and relationships that are in large responsible fot its enormous theatrical and financial success".

"Wicked celebrates the unarguable values of 'freedom' and 'independence'. […] Moreover, because the brave individualist is female, Wicked´s main characters converse with contemporary lexicon of “girl power” images".

Na última xuntanza do Feminario, discutimos o artigo de Stacey Ellen Wolf acerca do feito de que a parexa heteronormativa é substituida por unha parexa queer no musical Wicked. A través da súa análise da forma na que as convencións do amor romántico teñen funcionado históricamente neste xénero, Wolf establece a predominación da historia de amor heteronormativo como eixo central do teatro musical. Wicked, pola contra, substitue a historia de amor romántico por unha historia de amizade entre mulleres, e así ofrece unha versión queer con respeto á norma.

A análise de Wolf alude dalgún xeito ao que debatimos na nosa anterior xuntanza: o lesbian continuum e o xeito no que as relación entre mulleres poden desestabilizar o patriarcado heteronormativo. O artigo ofrece unha extensa lectura das cancións e dos puntos da trama que aluden aos lazos afectivos establecidos entre as dúas protagonistas e de como estas trastocan as expectativas do público ao colocar a amizade entre as mulleres onde habitualmente tería lugar a historia de amor heterosexual. Así, Wolf suxire que, mentres as mulleres non están involucradas nunha relación romántica, a historia é un exemplo de amor queer.

Aquelas de nós mais familiarizadas co musical e co libro no que se basea, atopamos que o texto de Wolf non abarcaba algúns puntos relevantes da obra. Mentres o artigo ofrece unha lectura clara das dúas mulleres, descuida o contexto político de cada unha das heroínas e obvia o modo no que as dúas mulleres representan estereotipos xeneralizados de comportamento femenino.