Pub Date : 2020-02-06DOI: 10.1080/14775700.2020.1724017
A. Fisher
ABSTRACT The 'Fish Wars' in the Pacific Northwest during the 1960s and 1970s hold an important yet predictable place within the historiography of the Red Power movement. In standard works, the fish-ins and other protests serve as a prelude to the larger pan-Indian struggle that seized public attention after the occupation of Alcatraz. The fight for treaty fishing rights thus serves as a proving ground for individuals like Hank Adams and organizations like the National Indian Youth Council, thereby shifting our attention from long-running issues and local actors to the events and figures that defined Red Power nationally and internationally. Moreover, historians generally have emphasized the Salish Sea (Puget Sound) region and the conflict among state, federal, and tribal governments rather than contemporaneous debates within and between Native nations. This study highlights several significant but slighted points regarding the Northwest fishing rights controversy. Focusing on Treaty Indians of the Columbia and their resistance to tribal regulation, my analysis illustrates that treaty rights could divide as well as unite Indians on multiple levels; that specific tribal struggles preceded the national pan-Indian movement and proceeded alongside; and that the Fish Wars were a crucial period in the history of tribal state-building.
20世纪60年代和70年代太平洋西北地区的“鱼之战”在红色政权运动的史学中占有重要的地位。在标准作品中，捕鱼和其他抗议活动是占领恶魔岛后引起公众注意的更大范围的泛印第安人斗争的前奏。因此，争取条约捕鱼权的斗争成为汉克·亚当斯(Hank Adams)等个人和全国印第安青年理事会(National Indian Youth Council)等组织的试验场，从而将我们的注意力从长期存在的问题和地方行动者转移到界定红色力量的事件和人物上。此外，历史学家通常强调的是萨利希海(普吉特海湾)地区以及州、联邦和部落政府之间的冲突，而不是当时土著民族内部和之间的争论。这项研究强调了关于西北捕鱼权争议的几个重要但被忽视的问题。我的分析集中在哥伦比亚的条约印第安人和他们对部落规则的反抗，说明条约权利可以在多个层面上分裂印第安人，也可以团结印第安人;特定的部落斗争先于全国性的泛印第安人运动，并与之并行;鱼战是部落国家建设历史上的一个关键时期。
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Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720411
Jacob Breslow
ABSTRACT This article interrogates how queerness, as signified by the queer child, operates in a contemporary US culture jointly defined by homonationalism and #MeToo. Using the queer child as its fulcrum, it argues that part of what sustains the pervasive failure to hold privileged individuals accountable for their sexual abuses is an exceptionalist discourse which only locates childhood desire, and child abuse, elsewhere. It establishes this by analysing a 2015 article and documentary by the New York Times about a young American woman, represented as a child, who was radicalised by the flirtatious seduction of online recruiters from Daesh. The analysis undertakes a queer reading of the flirtations and touches within the documentary, attending to its visualisations of seduction, embrace, and desire. Unpacking the sexual touch of the racialised discourses of so-called grooming, it opens up new ways of understanding the relationship between childhood sexuality, sexual abuse, and contemporary sexual politics.
摘要本文探讨以酷儿儿童为代表的酷儿身份如何在同性恋民族主义和#MeToo共同定义的当代美国文化中发挥作用。这本书以酷儿儿童为支点，认为让享有特权的个人为他们的性侵犯负责的普遍失败的部分原因是一种例外主义的话语，这种话语只把童年的欲望和儿童虐待放在别处。通过分析《纽约时报》(New York Times) 2015年的一篇文章和一部纪录片，该研究得出了这一结论。该纪录片讲述了一名年轻的美国女性在达伊沙(Daesh)网络招聘人员的轻浮诱惑下变得激进的故事。该分析对纪录片中的调情和触摸进行了奇怪的解读，关注其对诱惑、拥抱和欲望的可视化。这本书揭开了所谓“打扮”的种族化话语中的性接触，为理解儿童性行为、性虐待和当代性政治之间的关系开辟了新的途径。
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Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720407
Jonathan Ward
ABSTRACT Despite the increasing visibility of queerness and queer folks in American popular culture, there is a concerning dissonance between this symbolic cultural progression, and the reality of queer lives that continue to be marked by discrimination, oppression, and violence. This article considers the ways in which RuPaul’s Drag Race (2009) simultaneously constitutes this increase in queer visibility, and yet also perpetuates specific hierarchies of subjectivity which work to maintain hegemonic power. There is a particular irony here: this television programme is both promoted and consumed through the lens of increasing queer access to the public sphere through visual representation, and yet because of the ways that it legitimises certain specific queer identities, works to delegitimize others, rendering them invisible and/or inferior.
{"title":"Serving ‘Reality’ Television ‘Realness’: Reading RuPaul’s Drag Race and its Construction of Reality","authors":"Jonathan Ward","doi":"10.1080/14775700.2020.1720407","DOIUrl":"https://doi.org/10.1080/14775700.2020.1720407","url":null,"abstract":"ABSTRACT Despite the increasing visibility of queerness and queer folks in American popular culture, there is a concerning dissonance between this symbolic cultural progression, and the reality of queer lives that continue to be marked by discrimination, oppression, and violence. This article considers the ways in which RuPaul’s Drag Race (2009) simultaneously constitutes this increase in queer visibility, and yet also perpetuates specific hierarchies of subjectivity which work to maintain hegemonic power. There is a particular irony here: this television programme is both promoted and consumed through the lens of increasing queer access to the public sphere through visual representation, and yet because of the ways that it legitimises certain specific queer identities, works to delegitimize others, rendering them invisible and/or inferior.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124153386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720408
C. Lloyd
ABSTRACT Much contemporary queer US literature aims at physical and metaphorical density to write against the systematic subjugation and marginalisation of queer lives, the lingering inequalities of LGBTQIA+ people, and the disintegration of alternative spaces and networks. In response to the fragility of safe queer environments in US culture, novels such as Garth Greenwell’s What Belongs to You display density, materiality and compaction. Texts like this utilise and deploy condensed narrative forms, thickening depictions of the personal and cultural memory, as well as a material attention to the body. This article moves away from the dominant mode of temporality that has defined queer studies for some time to think more particularly about memory and its relation to narrative and corporeality. By concentrating on Greenwell’s novel, this article will show how personal memories of emerging gay subjectivities are entwined in broader queer cultural memories.
许多当代美国酷儿文学以物质和隐喻的密度为目标，反对酷儿生活的系统性征服和边缘化，反对LGBTQIA+人群持续存在的不平等，反对替代空间和网络的解体。为了回应美国文化中安全的酷儿环境的脆弱性，Garth Greenwell的《属于你的》(What Belongs to You)等小说展现了密度、物质性和紧凑性。像这样的文本利用和部署了浓缩的叙事形式，增加了对个人和文化记忆的描绘，以及对身体的物质关注。这篇文章脱离了一段时间以来定义酷儿研究的时间性的主导模式，更具体地思考记忆及其与叙事和肉体的关系。通过关注格林威尔的小说，本文将展示个人对新兴同性恋主体性的记忆是如何与更广泛的酷儿文化记忆交织在一起的。
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Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720405
Sarah E. Beyvers, F. Zitzelsberger
ABSTRACT This article examines three Captain America fanfictions that imagine the eponymous hero’s cinematic representation as queer in an effort to gauge the impact of a queer Captain America on U.S. society and culture. At the same time, these texts scrutinise the public perception of heroes as agents of heteronormativity, as heterosexual subjects, and objects of a heterosexual gaze, through the incorporation of (social) media responses in their fictional microcosms. Moving beyond the reductive equation of heroic masculinity and heterosexuality, the analysed texts open up more inclusive discourses of desire, disclosure, and dissent by following the coming-out stories of their heroes. The virtual spaces of fandom are put into conversation with the closet, which renders private, and possibly queer, identities invisible, and coming out as an act of publicly (re)gaining agency and self-determinacy. The article offers a queer reading of one of Marvel’s most beloved characters by reassessing the Captain America films and laying bare the constructedness of hetero-heroism that structures and motivates the films’ narratives. American queeroes in fanfiction are thus not just fantasies – they constitute reactions to and efforts against the oppressive framework of heteronormativity which obscures and limits the potential queerness of characters in mass media representations.
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Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720404
Christopher W. Clark
Christopher W. Clark is an Associate Tutor at the University of East Anglia and a Visiting Lecturer in Humanities at the University of Hertfordshire. They are currently working on a book with Palgrave Macmillan, titled Queer Transcultural Memory: U.S. Culture and the Global Context . Their research considers depictions of queerness and deviance in world literature and visual cultures, and the use of digital platforms and affect in the classroom. Previously, they have published articles on the writing of Jesmyn Ward ( Mississippi Quarterly ) as well as having reviewed several monographs. They have an upcoming article on the queer topographics of 9/11 as part of a special issue of the Journal of American Studies , and feature as part of an edited collection on Queer Horror with University of Wales Press, both due out in 2020.
{"title":"Introduction: queer subjectivities and the contemporary United States","authors":"Christopher W. Clark","doi":"10.1080/14775700.2020.1720404","DOIUrl":"https://doi.org/10.1080/14775700.2020.1720404","url":null,"abstract":"Christopher W. Clark is an Associate Tutor at the University of East Anglia and a Visiting Lecturer in Humanities at the University of Hertfordshire. They are currently working on a book with Palgrave Macmillan, titled Queer Transcultural Memory: U.S. Culture and the Global Context . Their research considers depictions of queerness and deviance in world literature and visual cultures, and the use of digital platforms and affect in the classroom. Previously, they have published articles on the writing of Jesmyn Ward ( Mississippi Quarterly ) as well as having reviewed several monographs. They have an upcoming article on the queer topographics of 9/11 as part of a special issue of the Journal of American Studies , and feature as part of an edited collection on Queer Horror with University of Wales Press, both due out in 2020.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121146924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720433
Sam Mcbean
ABSTRACT This short coda reflects on the question of ‘queer form’. While ‘form’ is not a framework that was explicitly addressed at the conference which produced this special issue, I suggest that it might be a useful way to approach the articles’ various approaches to the links between queer politics and aesthetics. Finally, the coda offers a short reading of the network form and its potential relationship to queerness.
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Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720412
D. Mortimer
ABSTRACT This article uses a creative-critical writing practice and methodology to analyse time in the year 2016, asking how digital technology influenced the ways in which the populace of the Global West received time in 2016. Important to the paper is an auto-ethnographic interpretation of ‘felt’ time and affect. Incorporating the theory of Jack Halberstam and Johannes Fabian, the article explores what the author defines as a temporal queerness that pervaded the year 2016. It pivots around two primary cultural events, the election of Donald Trump and the result of the U.K.’s Brexit referendum in order to make the case that progress is not linear and real change may be rooted in a different tense.
{"title":"The Heart-Sink and the Hood-Wink: A Creative-Critical Assessment of Temporal Queerness in the Year 2016","authors":"D. Mortimer","doi":"10.1080/14775700.2020.1720412","DOIUrl":"https://doi.org/10.1080/14775700.2020.1720412","url":null,"abstract":"ABSTRACT This article uses a creative-critical writing practice and methodology to analyse time in the year 2016, asking how digital technology influenced the ways in which the populace of the Global West received time in 2016. Important to the paper is an auto-ethnographic interpretation of ‘felt’ time and affect. Incorporating the theory of Jack Halberstam and Johannes Fabian, the article explores what the author defines as a temporal queerness that pervaded the year 2016. It pivots around two primary cultural events, the election of Donald Trump and the result of the U.K.’s Brexit referendum in order to make the case that progress is not linear and real change may be rooted in a different tense.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127044316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/14775700.2020.1720410
Aimee Merrydew
ABSTRACT Despite an increased awareness of trans identities and civil rights – facilitated by high-profile celebrities such as Laverne Cox – the mainstream US media continues to cast the everyday lives of trans communities in a limited and harmful light. Through an analysis of Ely Shipley’s Boy with Flowers, this article argues that first-person poetry offers a method for self-representation and platform to resist, as well as talk back to, hegemonic narratives of trans embodiment. In doing so, I position Shipley’s poetry as both a reflection of and on contemporary US culture and its policing of gendered bodies, especially under the current Trump administration. Developing the theme of reflection, I argue that the ‘reflections’ operate on physical, mental, and symbolic levels to explore how they register on the speaker’s own experiences of (trans)gender identity and embodiment.
{"title":"Reflecting (On) the Body: Trans Self-Representation and Resistance in the Poetry of Ely Shipley","authors":"Aimee Merrydew","doi":"10.1080/14775700.2020.1720410","DOIUrl":"https://doi.org/10.1080/14775700.2020.1720410","url":null,"abstract":"ABSTRACT Despite an increased awareness of trans identities and civil rights – facilitated by high-profile celebrities such as Laverne Cox – the mainstream US media continues to cast the everyday lives of trans communities in a limited and harmful light. Through an analysis of Ely Shipley’s Boy with Flowers, this article argues that first-person poetry offers a method for self-representation and platform to resist, as well as talk back to, hegemonic narratives of trans embodiment. In doing so, I position Shipley’s poetry as both a reflection of and on contemporary US culture and its policing of gendered bodies, especially under the current Trump administration. Developing the theme of reflection, I argue that the ‘reflections’ operate on physical, mental, and symbolic levels to explore how they register on the speaker’s own experiences of (trans)gender identity and embodiment.","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114147610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-24DOI: 10.1080/14775700.2019.1702841
Azelina Flint
ABSTRACTThis article argues that Alcott’s representation of interracial relationships challenges scholarly perceptions of her work as embedded in racist discourses of white purity. I claim that Alc...
{"title":"‘No Drop of Black Blood Marred Him in My Sight’: Reconstructing the Nation through Interracial Union in Louisa May Alcott’s Abolitionist Fiction","authors":"Azelina Flint","doi":"10.1080/14775700.2019.1702841","DOIUrl":"https://doi.org/10.1080/14775700.2019.1702841","url":null,"abstract":"ABSTRACTThis article argues that Alcott’s representation of interracial relationships challenges scholarly perceptions of her work as embedded in racist discourses of white purity. I claim that Alc...","PeriodicalId":114563,"journal":{"name":"Comparative American Studies An International Journal","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125515346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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