Journal of Lesbian Studies最新文献

This article is informed by sixteen in-depth interviews with LGBT + activists in Romania, my archive and notes during my involvement in feminist and queer activist circles, as well as archival materials of an LGBT + NGO. It proposes the concept of lesbian anonymity as a means of investigating the way in which marginal positions within mainstream movements are anonymized and their contributions to the movement dispersed within the generic queer/gay activism. By looking at specific case studies from Romaniás transition period (1989 to mid 2000s), I analyze how matters of representation were tackled within the LGBT + mainstream movements in relation to grassroots activist circles. The article explores what happens when queer gatekeepers fail to engage with internal criticisms concerning the selective erasure of certain categories of voices such as queer women, trans people, racialized people, sex workers. I argue that lesbian anonymity offers another angle of analyzing the clashes between and within different LGBT + groups in post-socialist spaces. How does lesbian anonymity shape the queer movements and why is it important to keep representational issues in mind while working on non-normative sexualities, gender, and women´s reproductive rights? This contribution offers a necessary critique of the representational gaps within queer movements.

The past decade has witnessed an unprecedented rise in trans* representation in literature, with works of fictions that go from critically acclaimed best sellers like Torrey Peters' Detransition Baby (2021) to Booker-Prize winner postcolonial-centred study of non-binary characters in Bernardine Evaristo's Girl, Woman, Other (2019). In this blossoming context of exploring trans* voices, Ali Smith's How to be both (2014) breaks the mould in its defiance of traditional representations of transivity, usually grounded on medico-legal discourses. Following the precept of transnormativity as well as the theories of hapticality of Jeanne Vaccaro and Laura Marks, which respectively explore the possibilities of trans* identity perceived as a collective process of crafting and the potential found in a haptical approach to the visual, I hereby discuss Smith's representation of trans*masculine identity outside the regime of medicine. Pivoting around Smith's conceptualisation of 'the painter self', an original reinterpretation of trans* identity as expressed and crafted through the arts and the feeling of touch, I offer an analysis of the continual process of becoming of trans* Renaissance character Francescho del Cossa. Moreover, I offer analyses on the impact others may have on one's own trans* identity, with an interest on the trans* joy that comes from acceptance and on the role of arts to outgrow the pain that comes from rejection. Finally, I examine the role of the visual in the artistic representation of transivity, where Smith defies the limits of time, portraying trans* identity as the true never-ending process.

This essay looks at, and compares, Hotel World by Ali Smith and Mrs. Dalloway by Virginia Woolf and attempts to understand the differences within both the formal and philosophical/political outlook of the two works. Presuming stream-of-consciousness as both a set of formal prosaic styles and a genre, the essay argues that the way the novels utilize formal style is indicative of their individual politics in counterintuitive ways. Furthermore, it argues that by looking at these two novels we can begin to map a lineage of queer stream-of-consciousness works and explore how those perspectives have changed over time.

The Anthropocene is old news. As young queer zine-makers in Singapore, we heard the term on repeat and dared to ask: What about the AnthroPUSSY? From this queer environmentalist pun we birthed a new take on our relationship to the Earth amidst climate crises - and in doing so, we came out as ecolesbians. Ecolesbianism is a concept we co-created, bringing together queer ecologies, political lesbianism, ecofeminism, transecology, ecosexuality, and our own experiences. Ecolesbianism explores our relationship with the Earth and asks: what if our interspecies relationships are lesbian too? We argue that lesbian intimacy is unique in proceeding from a point of sameness and marginality, by recognising shared experiences of gender marginalisation with our lovers. Ecolesbianism thus might be understood as a subset of ecosexuality, but with an emphasis placed on marginality and intimacy more so than a general focus on sex and sensuality. The Anthropussy, meanwhile, is our nod to rejecting classifications: The Anthropussy is the erotic and utopian potential we carry within this era of unprecedented anthropogenic climate change. It combines an environmentalist recognition of the climate crisis with a feminist and queer theory analysis of the vulva as a symbol for vast potential, pleasure, intimacy, and expansiveness. This article is a re-formatted zine: a form that brings creativity and fun into the often heavy and overwhelming conversation on ecological collapse, while also expanding its audience beyond that of a typical academic article.A full version of the zine can be found in the supplemental materials linked to this article.

Lesbians have long turned to digital media and technologies for information, support, and to self-represent sexual identity in ways that have the capacity for building communities and gathering publics and counterpublics. TikTok is a short video platform popular with young people, which has increasingly seen the participation of comparatively older users. This paper investigates the self-representation of lesbians over age 30 on TikTok to understand the themes in their content and how the platform shapes their communication with others. Through sampling tailored to TikTok's algorithmic curation, ten lesbians' accounts are examined alongside qualitative coding and analysis of 50 of these creators' videos. Findings reveal key themes regarding the expression of identity and age, lived experience over time, and bids for connection and community. TikTokers expressed lesbian identity in continuity with longstanding stereotypes to enhance visibility but also incorporated humor and youthful trends to give rise to novel identity expressions. Videos showcasing the passage of time and sociopolitical change demonstrated the resilience of lesbian lives and conveyed hope while advice and statements of solidarity expressed support for young people's present struggles with homophobia and transphobia. Contrasting with studies of TikTok's generational wars, this article shows how older lesbians are building generational bridges through their uptake of youth-driven platform practices, sharing of past challenges to support youth in overcoming present hurdles, and by modeling lesbian futures.

This paper employs Audre Lorde's theoretical paradigm of anti-binarism and ecofeminism to explore her creation of a distinctive queer space which is achieved through the successful incorporation of ecological elements in her narrative of lesbianism. The central premise of this research lies in the intersection of lesbian concerns and the environmental sensibility in Lorde's novel, Zami. The detailed analysis of instances of lesbian lovemaking interspersed with ecological references in Zami reveals a close connection between environment and queer sexuality, realised in the phrase "queer ecology". This study investigates how the erotic contours of Lorde's lesbian identity are shaped by her sustained engagement with the environmental metaphor derived from her immediate surroundings as well as the geography of her ancestral Grenadian island where the Zami myth originates. The cartographies of the physical landscape of Grenada and Black lesbian bodies intersect to form a combined ethos of lesbian eroticism driven by a strong rootedness in ecological affiliation. Through close examination of Afrekete's role in Zami's lesbian erotics, this paper activates a distinctive queer-ecological reading of lesbian relationships derived from a combination of aquatic, green, and edible metaphors. This article is an endeavour to bring about a sustained engagement of queer and environmental concerns by unravelling a symbiotic relationship between the two.

While the concept of "coming out" is relatively well-critiqued, few of these critiques trouble the way a near exclusive focus on disclosure positions sexuality as an essential identity. Based on life history interviews with 18 lesbian, pansexual, and queer women elders (ages 65+), I find coming out did not describe disclosing or even acknowledging same-gender desire, but, rather, choosing to act on it. For participants, coming out is the process of forming desire into a coherent identity (lesbian woman), a process that required continued interactions with lesbian existence; contrary to essentialist understandings, desire alone did not enable participants to become lesbians. In this article, I describe the two paths participants followed while becoming lesbians and consider how the historical context in which participants came out, specifically the second wave feminist movement, uniquely facilitated coming out for white women. Ultimately, I argue lesbian sexuality is a richly constructed social identity formed in community and defined by resistance to compulsory heterosexuality. By viewing sexual identity as based on shared political commitments formed in community, this article both corrects an essentializing tendency in the coming out literature and offers a potential point of repair between older and younger generations of lesbians.