In this essay, I connect the sexual victimization of women, children, and pet animals with the violence manifest in a patriarchal culture. After discussing these connections, I demonstrate the importance of taking seriously these connections because of their implications for conceptual analysis, epistemology, and political, environmental, and applied philosophy. My goal is to broaden our understanding of issues relevant to creating peace and to provide some suggestions about what must be included in any adequate feminist peace politics.

This article contends that black feminist conceptions of ‘pussy power’ have prematurely foreclosed an examination of both pussy and its powers, thereby missing the erotic potential inherent in a ‘pussy power’ that is distinctly black – what I term black pussy power. Taking Pam Grier’s Blaxploitation performances in Coffy (1973) and Foxy Brown (1974) as my primary case studies, I use black pussy power as a conceptual framework through which to read Grier’s performances of black eroticism, which enable her to (...) resist racialised gendered sexual subjection and tap into modes of erotic agency otherwise denied to her. Moving away from delimited understandings of pussy as female genitalia or an objectified entity of female sexuality, I mobilise black queer feminist theorisations of the ‘arbitrary relation between black sex and gender’ to theorise the polymorphous potential of black pussy to signify beyond the narrow gender and sexual grammars currently available to us.1 At the same time, black pussy’s discursive connection to black feminine sexuality animates the insurgent potential of black pussy power to secure nominal black freedoms in the face of state-sanctioned infringements on black erotic life. (shrink)

In this article I set out an argument that skins and screens, once distinctly different types of surface, are merging. I show how in contemporary highly mediatized worlds skins are required to be visually expressive while also noting a parallel movement whereby screens are becoming more affective. Using the ‘designer vagina’ – specifically labiaplasty – as a case study I show how ideal bodies exist simultaneously as screen and as skin, as image and as affect. In turn, I argue that (...) two-dimensional images and three-dimensional ‘real life’ bodies are blending in ways that parallel skin–screen mergers. (shrink)

: The study of perfection, progress and evolution is a central theme in the history of ideas. This thesis explores this theme seen and understood as part of a discourse in the new fields of anthropology, sociology and psychology in the nineteenth century. A particular focus is on the stance taken by philosophers, scientists and writers in the discussion of theories of human physical and mental evolution, as well as on their views concerning the nature of social progress and historical (...) change. The wisdom and feasibility of improving the human species is discussed alongside an analysis of new methods of investigating and measuring physical and mental attributes of the human organism.The instruments used to assess the development of mind, body and society are described, and are viewed as part of an increased emphasis on the use of technology as an integral part of modern life, and as a means toward the ordered gathering of information in social-scientific practice. An international perspective is taken by observing the way in which ideas about the physical and mental development of humankind was discussed in light and consequence of English and European scientific exploration in the Southern Hemisphere. Further, an evaluation is made of the manner of the spread of new thought in the social sciences from the intellectual and cultural 'centre' of England and Europe to the Anglo-European community located at the 'periphery' in Australia in the late nineteenth century. In particular the educative role played by the non-professional enthusiast as a pivotal conduit for the dissemination of these ideas is highlighted and linked back to a significant tradition of amateur scholarship as a central phenomenon in the study of the history of ideas. (shrink)

In this paper I focus on recent artworks by South African artist Nandipha Mntambo. I read these for the ways in which the discourse of species works within and against the humanist sacrificial economy of the subject that Jacques Derrida calls “carno-phallogocentric”. Drawing on Derrida's “metonymy of ‘eating well,'” Achille Mbembe's analysis of colonial violence, and Julia Kristeva's theory of abjection, I argue that these works inscribe and disturb a speciesist, sexual, and racial politics of animalization, and do so by (...) figuring a transgressive animality that stalks the “origins” of “the human” and troubles its carnivorous and colonial relations of “eating the other.” The works render ambiguous the humanist border that separates “man” from what he calls “the animal” and thicken the singular division between edible and inedible bodies, and literal and figurative eating. I suggest that this figures what Haraway might call an “eccentric subject”, one that not only holds open the possibility of a nonanthropocentrism but, as Haraway would say, “nourishes indigestion” at the heart of “carno-phallogocentric” power. But this is risky practice, as a recent controversy about reading Mntambo's work shows. (shrink)

This article critiques dominant feminist analyses of the “Hottentot Venus.” It argues that these analyses of the construction of Black women as “other,” which borrow heavily from poststructuralism, make race and gender transhistorical and metaphysical constructs. The article critiques what has become the theoretical orthodoxy on the “Hottentot Venus.” It takes issue with two presumptions in particular: first, that there was a core image of the Black woman in the nineteenth century, and second, that the fear of the anatomy of (...) the “other” is the source of negative representations of Black sexuality. The article proposes an alternative way of understanding the construction of Black women in colonial discourse. It argues that social relations, rather than psychological dispositions, determine how bodies are seen and perceived. (shrink)

This article considers the role of beauty in Costa Rican sex work. In the context of sex tourism, beauty operates as affective labour performed by sex workers, labour that is mediated by deeply contradictory understandings of race and nation. Theorising beauty as a form of affective labour means thinking about beauty as value, as something that circulates, can be exchanged and is ultimately relational. While Costa Rica's national mythology has long focused on claims to white origins, sex tourists identify local (...) women's ‘exoticism’ and non-whiteness as particularly appealing. Commercial sex does not simply depend on an imperial male gaze, but rather requires us to consider how particular national mythologies about race are linked to ideals of attractiveness in complex ways. I also explore how women experience and manage their sexual attractiveness to foreign tourists in their daily lives and work. (shrink)

The Irish are largely invisible as an ethnic group in Britain but continue to be racialized as inferior and alien Others. Invisibility has been reinforced by academic treatment Most historians have assumed that a framework of assimilation is appropriate and this outcome is uncritically accepted as desirable. Sociologists on the other hand have excluded the Irish from consideration, providing tacit support for the ‘myth of homogeneity’ of white people in Britain against the supposedly new phenomenon of threatening (Black) ‘immigrants’. Focus (...) on the paradigm of ‘colour’ has limited the range of racist ideologies examined and led to denial of anti-Irish racism. But an analysis of nineteenth-century attitudes shows that the ‘Irish Catholic’ was a significant Other in the construction of the British nationalist myth. Despite contemporary forgetting, hostility towards the Irish continues, over and above immediate reactions to recent IRA campaigns. Verbal abuse and racial harassment are documented in London and elsewhere, but unacknowledged. The masculine imagery of ‘Paddy’ hides the existence of Irish women in Britain, although they have outnumbered men since the 1920s. In America, by contrast, there is a strong stereotype of ‘Bridget’ and her central contribution to Irish upward mobility is recognized. But invisibility does not protect Irish women in Britain from racism. Indeed, they are often more exposed since their productive and reproductive roles connect more firmly to British society. Moreover, women have played a key role in maintaining Catholic adherence, which continues to resonate closely with Irishness and difference. (shrink)

This paper analyses the notions of desire and metissage that circulate in The Lover, Marguerite Duras's autobiographical novel about an illicit and scandalous sexual relationship between an adolescent French girl and a wealthy Chinese man set in 1920s French colonial Siagon. Rather than celebrate The Lover as a tale of a young French girl's resistance to colonial sexual mores and regulations, this paper seeks to excavate how that resistance both affirms and challenges the racializing and racist dynamics of colonial society. (...) In particular, I explore the intertwining discourses of colonial sexuality, gender, race, and Orientalism that both produced and constrained the specific forms of desire and subjectivities available to and taken up by European women in French Indochina, and that circumscribe the story that Duras is able to tell about the French girl's love affair in The Lover. I suggest that Duras's portrayal of the French girl as a sexually autonomous female subject – one whose erotic relations are not bound by the dictates of colonial patriarchy – is made possible only by the ambivalent structure of the girl's desire, by her simultaneous attraction to and repulsion of the racialized others of the French colonies. (shrink)

This article identifies and analyses links between conceptualisations of trans-gender and trans-national, and aims for a critical redefinition of political agency. Through an examination of theories on transing, passing and performativity in queer-, trans- and transnational feminist knowledge production—illustrated by discursive examples from transgender communities and Romanian migrant communities—I call for a conceptualisation of entangled power relations that does not rely on fixed, pre-established categories, but defines subjectivity through risk in political struggle. I suggest that ‘transing’ the nation and ‘transing’ (...) gender could be thought as critical moves for a radical deconstruction of gendered and national belonging. Rather than provide a static definition of the term ‘transnationalism’, the article explores potentials and limits of going beyond ‘the national’ and ‘gender’, and intervenes in forms of minority nationalism that reproduce racism, sexism, heteronormativity and gender binary as the norm of Western national belonging. In particular, building on Jasbir Puar's (2007) conceptualisation of homonationalism, the article shows how forms of nationalism in Western transgender and migrant communities rely on a combination of heteronormative binary gendering and the exertion of racism. While a conventionalised approach to transnationalism defines the term as a political strategy based on transnational politics, I play with suggesting different dimensions of transnationalism: it could mean ‘transgender nationalism’; the ‘assimilation of transgendered persons to the Western nation’; or ‘cross-border-nationalism’, a form of nationalism often established in migrant communities that constructs the diaspora as a nationalist extension of the homeland. My focus, therefore, is on analysing privilegings, contradictions and ambivalences in gendering, racialising and nationalising ascriptions of (non)belonging. Overall, and as an alternative to romanticised knowledge productions of crossing national and gendered borders, I suggest a power-sensitive epistemological and methodological shift in thinking entangled power relations, belonging and subjectivity in transnational feminist knowledge productions. (shrink)

This a contribution to the cultural semiotics of African cultural encounters seen through the eyes of Swedish naturalists at the end of the eighteenth century. European travellers faced severe problems in understanding the alien African cultures they encountered; they even had difficulty understanding the other culture as a culture. They were not just other cultures that they could relate to, but often something completely different, belonging to the natural history of the human species. The Khoikhoi and other groups were believed (...) by Europeans to be, from their perspective, the most distant culture. The Linnaean disciple Anders Sparrman and others, however, tried to transcend this cultural gap, and used their cognitive resources, such as empathy and intersubjectivity, in order to understand the alien culture they encountered.The aim of this paper is to unearth the cultural semiosis of African encounters and the intersubjective challenges that human interactions provoke. These encounters not only changed the view the travellers had of the Other, but also changed themselves and their self-perception. The encounter between the Ego and the Other is, however, not static, something predestined by the differences in their cultures, but dynamic, changing according to individual encounters and the actual intersubjective interplay that transform and change the perception of the Other. There are in particular four meaning-making processes and challenges within cultural encounters that are in focus: recognizing cultural complexity; invoking intersubjectivity; determining similarities and dissimilarities; and identifying the Other as a mirror of oneself.The triad of cultures – Ego, Alter, and Alius – can be understood as gradual and changing aspects depending on the actual situation of the encounter and the personal perspectives, interpretations, and behaviour of the thinking subjects involved. Using concrete examples from Southern and Western Africa in the 1770s and 1780s, this study aims to explore this dynamic semiosis. One of the conclusions is that the relation between the Ego and the Alter/Alius is not something only predetermined by the cultures involved and their ideologies, but also depends on the individual thinking subjects and how they use their specific cognitive and semiotic resources, not least their intersubjective abilities, within specific temporal and spatial contexts. (shrink)

Representations of rape and sexual violence abound in Victorian painting, but art historical analysis of this phenomenon has been scarce. This article uses Arthur Hacker’s 1892 painting Syrinx to examine late nineteenth-century approaches and responses to visually representing rape. How did the representation of rape relate to the newly respectable aesthetic category of the artistic nude? Syrinx depicts a standing unclothed young woman attempting to cover her body with reeds, subject matter derived from Book I of Ovid’s Metamorphoses. The painting (...) has been on public display in Manchester Art Gallery since 1893. This article examines how a rape narrative from antiquity was remade as part of the public culture of Victorian Britain, examining the aesthetic, material, literary, legal, medical and museum contexts in which its meanings were produced. It also considers how the representation of rape in this Victorian painting continues to be rethought in Manchester Art Gallery today. (shrink)

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the (...) ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche's film Venus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche's peculiar filmic strategies is the crucial focus of this paper. While Sara's body is continually exposed and violated, Venus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari's (1987 [1980]) account of the close up, I explore how Kechiche's take on Sara's face builds a strong connection with the spectator's extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator's own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world. (shrink)

The race idea keeps recurring in different guises and yet has an intriguing ‘ever-changing sameness’. Ash Amin has provided an insightful discussion of the question in an earlier issue of this journal. I supplement his account by pointing to the ways in which the nature—culture puzzle identified by Lévi-Strauss creates continuing spaces and seductions for the race idea. I offer an account of the perils of using supposedly ‘natural’ human attributes, as in versions of cognitive anthropology, to explain racism, without (...) completely discounting the idea of human universals. I also explore how ‘race’ retains its continuing hold by intertwining with themes of class, sexuality and nation. I provide an interpretation of racist identities and explain why my account offers both greater pessimism and more optimism than Amin’s more uniform ‘ontological pessimism’. (shrink)

This essay reviews recent feminist scholarship, autobiographical narrative and fiction which explores nurses' engagement with empire in Africa and elsewhere in this century. Such literature suggests that while nursing work may have improved native health in colonized regions, it also contributed significantly to the establishment and stabilization of the racialized order of colonial rule. Of particular significance was colonial nursing's intervention into the reproductive practices of native women, resulting in the loss of local knowledges and autonomy, the disruption of complex (...) social links and indigenous health strategies, and the expansion of markets for western capitalism. (shrink)

This article provides ethical guidance on using race in health research as a variable or in defining the study population. To this end, a plain, non-exhaustive checklist is provided for researchers and research ethics committees, preceded by a brief introduction on the need for justification when using race as a variable or in defining a study population, the problem of exoticism, that distinctions pertain between race, ethnicity and ancestry, the problematic naming of races, and that race does not serve well (...) as a presumed biological construct in genetic research. (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)