In this paper, I examine alternative feminist activism and social movements in Egypt by analyzing BuSSy. BuSSy is a performance art group that hosts storytelling workshops and monologues of taboo and “shameful” personal stories that challenge societal and state-sanctioned normative discourses on femininity/womanhood and masculinity/manhood. Drawing on transnational feminist scholarship and queer theory and using collective memory as a lens, I argue that BuSSy’s storytelling is an act of airing Egypt’s dirty laundry, queering normative discourses to enable feminist counter-memorializing. Based (...) on content analysis of secondary data including BuSSy’s published interviews, YouTube videos, website and Facebook images, and testimonies from 2006 to 2020, my analysis reveals BuSSy as curating an “archive of feelings” centralizing gendered narratives of shame. I examine how BuSSy’s affectively contagious storytelling leads to feminist social change by empowering storytellers and listeners. BuSSy’s works create cathartic experiences to shed stigma and shame. Finally, I reconceptualize feminist activism and collective memories outside of the 2011 Egyptian revolution and contribute to the literature on shame by analyzing how BuSSy identifies and counters shame’s silencing power. (shrink)

Tango, of all popular dances, would seem to be the most extreme embodiment of traditional notions of gender difference. It not only draws on hierarchical differences between the sexes, but also generates a ‘politics of passion’ which transforms Argentineans into the exotic ‘Other’ for consumption by Europeans and North Americans in search of the passion they are missing at home. In this article, I offer a modest provocation in the direction of scholarship that places politics before experience by questioning whether (...) passion can be explained solely through the discourses of feminism or postcolonialism. Instead I will show why we, as critical feminist scholars, need to pay more attention to the experience of passion, whether we are analysing a passion for tango or any other bodily activity that is intensely pleasurable, addictively desired, but also unsettling, disruptive, and – last but not least – politically incorrect. (shrink)

This article examines the reparative turn in current queer feminist scholarship by tracking its twin interest in the study of affect and time. By foregrounding Eve Kosofsky Sedgwick’s influential critique of what she called paranoid reading, I am interested in the ways that various critics – Ann Cvetkovich, Heather Love, and Elizabeth Freeman in particular – take up the call for reparative reading by using the temporal frameworks of the everyday, backward feeling, and queer time to reparative ends. In the (...) process, I consider the reparative work being done to reclaim Sedgwick as a major thinker for queer feminist concerns, and speculate on the attraction, in a time of declining economic and cultural support for the interpretative humanities, of a critical practice that seeks to love and nurture its objects of study. (shrink)

Going beyond the creolisation theories of Brathwaite and Glissant, I attempt to develop ideas concerning the gendering of creolisation, and a historicising of affects within it. Addressing affects as ‘physiological things’ contextualised in the history of the Caribbean slave plantation, I seek, importantly, to delineate a trajectory and development of a specific Creole history in relation to affects. Brathwaite's proposition that ‘the most significant (and lasting) inter-cultural creolisation took place’ within the ‘intimate’ space of ‘sexual relations’ is key to my (...) argument. In the light of this, I consider how Creole cultural knowledge about affect—as the primary motivational system inclusive of fear, anger, outrage and so on — might be identified, and what constitutes such Creole knowledge within which affect might be embedded. How might Glissant's relationality and Creole literary texts add to this knowledge? I focus primarily on three texts: Clarke's The Polished Hoe, Collins’ The Colour of Forgetting and Morejón's ‘Amo a mi amo’/‘l Love My Master’. Each text on which I draw is selected for its intersectional representation of gender relations, ‘knowledge about sexual difference’ and its representation of Creole subjectivities within the context problematised here as the ‘demonic ground’. Moreover, as auto-theorising texts, they represent both narrative and meta-narrative of a creolising of affects in and against the economy of the slave plantation. Each represents also a stage or aspect of the development of subjectivities and an affective community that inform this intervention concerned with theorising against consolidated, universalising and Eurocentric conceptualisations of affect. In the process, I attempt to offer a differentiated cartography and literary archaeology of affect. (shrink)

Affectivity has become an operative concept for a variety of analyses of our everyday media-based public communications. However, it often remains unclear what affectivity is and how it can be used for analysing media-based public discussions. To clarify the role of affectivity in such analyses, I take a look back to the classical phenomenological analyses of affectivity provided by Edmund Husserl. I argue that based on Husserl’s analyses, affectivity is essentially a relation between the object and the affected subject evoking (...) responses in the subject. Accordingly, the role of affectivity in the opinion formation and other similar processes in media-based public discussions can be analysed as contingent sedimentations of the object’s such relations to the subject. As my analysis demonstrates, analyses of affectivity in the context of media-based communications do not capture their research object—affectivity—if affectivity is conceived as a feature of the media contents and not as a modality of experience. (shrink)

This article examines one of the main epistemological frameworks that feminist theory has used for the past 30 years: essentialism and anti-essentialism. It explores what is at stake by continuing to use such perspectives within the late days of the early 21st century, and how it is linked to a performance of critical sophistication which has specific political consequences. Instead of seeing the body as essentialist, the author draws on two examples — popular musician Kate Bush and ontological ideas about (...) the Goddess — to present the body as immanent flesh. This has implications for thinking through different forms of relational and critical perspectives circulating in the current climate, and the author argues that the recent introduction of affect and the increasing interest in haptic knowledges is part of the immanent flesh’s potential for transforming knowledge and the wider world. (shrink)

This paper reflects on affect and emotion as they relate to poetics — her/histories — in twenty-first century museums. Using specific examples, it considers the ways in which collections of material culture hold diverse meanings and how ideas are communicated to audiences over time and space but might also be challenged through imaginative activity. Key objects, exhibitions and activities discussed highlight masculinities at work in museums and include the temporary art installations by Yinka Shonibare and Fred Wilson in the Victoria (...) and Albert Museum's (V&A) Norfolk House Music Room in 2007; the portrait in oils of the Jamaican scholar Francis Williams, painted by an anonymous artist around 1745; and a contemporary oral commentary by Benjamin Zephaniah in the V&A British Galleries, which are considered through a feminist lens of poetics. (shrink)