_The Promise of Happiness_ is a provocative cultural critique of the imperative to be happy. It asks what follows when we make our desires and even our own happiness conditional on the happiness of others: “I just want you to be happy”; “I’m happy if you’re happy.” Combining philosophy and feminist cultural studies, Sara Ahmed reveals the affective and moral work performed by the “happiness duty,” the expectation that we will be made happy by taking part in that which is (...) deemed good, and that by being happy ourselves, we will make others happy. Ahmed maintains that happiness is a promise that directs us toward certain life choices and away from others. Happiness is promised to those willing to live their lives in the right way. Ahmed draws on the intellectual history of happiness, from classical accounts of ethics as the good life, through seventeenth-century writings on affect and the passions, eighteenth-century debates on virtue and education, and nineteenth-century utilitarianism. She engages with feminist, antiracist, and queer critics who have shown how happiness is used to justify social oppression, and how challenging oppression causes unhappiness. Reading novels and films including_ Mrs. Dalloway_, _The Well of Loneliness_, _Bend It Like Beckham_, and _Children of Men_, Ahmed considers the plight of the figures who challenge and are challenged by the attribution of happiness to particular objects or social ideals: the feminist killjoy, the unhappy queer, the angry black woman, and the melancholic migrant. Through her readings she raises critical questions about the moral order imposed by the injunction to be happy. (shrink)

Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distill our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's (...) low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject--and discloses their place at the very center of the aesthetics that structure our culture and color our lives. Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the undeniable impact of popular aesthetics on our lives. How we nod our heads or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's "for real"--these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here as not only meriting aesthetic judgments but also demanding them, and shaping our understanding of what all music means. (shrink)

In this classic work of feminist political thought, Iris Marion Young challenges the prevailing reduction of social justice to distributive justice.

This article explores various analytical issues involved in conceptualizing the interrelationships of gender, class, race and ethnicity and other social divisions. It compares the debate on these issues that took place in Britain in the 1980s and around the 2001 UN World Conference Against Racism. It examines issues such as the relative helpfulness of additive or mutually constitutive models of intersectional social divisions; the different analytical levels at which social divisions need to be studied, their ontological base and their relations (...) to each other. The final section of the article attempts critically to assess a specific intersectional methodological approach for engaging in aid and human rights work in the South. (shrink)

Explanations of how identity is constructed are fundamental to contemporary debates in feminism and social theory. In this important addition to the literature, Beverley Skeggs demonstrates that class needs to be featured more prominently in theoretical accounts of gender, identity, and power. Class has been marginalized in feminist and cultural theory and it has become increasingly difficult to teach, research, or speak about class. Formations of Class and Gender identifies the neglect of class issues in favor of gender issues, and (...) shows how class and gender must be fused together to produce an accurate representation of power relations in modern society. In a sustained examination of the production of knowledge, detailed ethnographic research is used to explain how ôrealö women modify and reformulate our understanding of class, subjectivity, and sexuality. A critical examination of cultural representationùinformed by recent feminist theory and the work of Pierre BourdieuùFormations of Class and Gender is an articulate demonstration of how to translate theory into practice. Engaged with theoretical and methodological issues, this will be the standard referenced ethnography on class and gender. It will be required reading for students and researchers in womenÆs studies and sociology. (shrink)

Since its inception, the concept of `intersectionality' — the interaction of multiple identities and experiences of exclusion and subordination — has been heralded as one of the most important contributions to feminist scholarship. Despite its popularity, there has been considerable confusion concerning what the concept actually means and how it can or should be applied in feminist inquiry. In this article, I look at the phenomenon of intersectionality's spectacular success within contemporary feminist scholarship, as well as the uncertainties and confusion (...) which it has generated. Drawing upon insights from the sociology of science, I shall show how and why intersectionality could become a feminist success story. I shall argue that, paradoxically, it is precisely the concept's alleged weaknesses — its ambiguity and open-endedness — that were the secrets to its success and, more generally, make it a good feminist theory. (shrink)

Feminist Poststructuralist Discourse Analysis helps analyse how speakers construct their gendered identities within a complex web of power relations. Demonstrated here through a study of teenagers' conversation in class and senior managers' discussions in business meetings, it challenges the view that females are disempowered in mixed-sex settings.