Pub Date : 2022-05-01DOI: 10.1215/23289252-9613005
N. Reich
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Pub Date : 2022-05-01DOI: 10.1215/23289252-9612935
M. Wolff
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Pub Date : 2022-05-01DOI: 10.1215/23289252-9612851
Quincy Meyers
This article analyzes the history of trans identities and intersex subjectivities to understand intersex and trans intercommunity relations and identify coalitional strategies. Citing Black and postcolonial studies scholars such as Riley C. Snorton and Zine Magubane, it concludes that trans identity and intersex subjectivity share a colonial racial history. Specifically, it builds on Snorton's “analysis of gender as a racial arrangement wherein the fungibility of captive flesh produced a context for understanding sex and gender as mutable and subject to rearrangement in medicine and law” to account for how the same racial arrangement of gender also formed intersex subjectivity. Trans identity and intersex subjectivity, then, have roots in colonialism and slavery, and the ungendering of Black flesh made interchangeable goods. This history has left a legacy of intercommunity tension in the form of whiteness. Consequently, addressing sex/gender as a racial arrangement is necessary to address tensions and build coalitions.
本文分析了跨性别身份和双性人主体性的历史，以理解双性人和跨性别人在社区间的关系，并确定联合策略。引用黑人和后殖民研究学者如莱利·c·斯诺顿(Riley C. Snorton)和津·马古贝恩(Zine Magubane)的话，它得出结论，跨性别身份和双性人主体性共享殖民种族历史。具体来说，它建立在斯诺顿“将性别作为一种种族安排的分析之上，其中俘虏肉体的可互换性为理解性别和性别是可变的，并受制于医学和法律的重新安排提供了一个背景”，以解释性别的相同种族安排如何也形成了双性人的主体性。因此，跨性别身份和双性人主体性根源于殖民主义和奴隶制，黑人的非性别化造就了可互换的商品。这段历史以白人的形式留下了社区间紧张关系的遗产。因此，将性/性别作为一种种族安排来解决紧张关系和建立联盟是必要的。
{"title":"Strange Tensions","authors":"Quincy Meyers","doi":"10.1215/23289252-9612851","DOIUrl":"https://doi.org/10.1215/23289252-9612851","url":null,"abstract":"\u0000 This article analyzes the history of trans identities and intersex subjectivities to understand intersex and trans intercommunity relations and identify coalitional strategies. Citing Black and postcolonial studies scholars such as Riley C. Snorton and Zine Magubane, it concludes that trans identity and intersex subjectivity share a colonial racial history. Specifically, it builds on Snorton's “analysis of gender as a racial arrangement wherein the fungibility of captive flesh produced a context for understanding sex and gender as mutable and subject to rearrangement in medicine and law” to account for how the same racial arrangement of gender also formed intersex subjectivity. Trans identity and intersex subjectivity, then, have roots in colonialism and slavery, and the ungendering of Black flesh made interchangeable goods. This history has left a legacy of intercommunity tension in the form of whiteness. Consequently, addressing sex/gender as a racial arrangement is necessary to address tensions and build coalitions.","PeriodicalId":44767,"journal":{"name":"TSQ-Transgender Studies Quarterly","volume":"28 1","pages":""},"PeriodicalIF":0.7,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81985375","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 : 2022-05-01DOI: 10.1215/23289252-9612949
S. Whitley
This article explores the impact of the subprime foreclosure crisis on black transgender women in Baltimore, Maryland, by thinking with Project 42, a series of art installations curated by trans artist Molly Jae Vaughan that memorializes forty-two trans murder victims in the United States. Focusing on the project's memorialization of the late Tyra Trent, a black transgender woman who was murdered in a city-owned vacant property in the Central Park Heights neighborhood, the essay considers the textile design of Project 42’s “memorial garment” for Tyra Trent, which includes a pattern with the abstraction of the Google Earth imaging of the murder location, and black trans dance artist Aísha Noir's performance in the honorary dress as a collaborator with Vaughan for Project 42 installations. What follows is a political reflection at the intersection of black feminism, economic geography, and urban planning that demonstrates how black transfeminist worldmaking invites us to “revitalize” or replace traditional urban planning projects and challenge gendered racial capitalism.
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