Pub Date : 2022-01-02DOI: 10.1080/07491409.2022.2041965
Q. Ngo
explains stereotype as a visual concept as well as the historical inheritance of stereotyping in comics. Several well-chosen examples of El Rassi’s use of Arab stereotypes for purposes of subversion illustrate Køhlert’s analysis, including one in which El Rassi has placed his own headshot within a newspaper page filled with 9/11 terrorists, asking, “Could the average American distinguish me from a Muslim terrorist?” (Figure 5.7). Some readers may resist Køhlert’s more psychoanalytic analysis of the work of Phoebe Gloeckner. Gloeckner’s A Child’s Life and The Diary of a Teenage Girl have received a fair amount of scholarly attention previously, including an analysis in Chute’s Graphic Women, of which Køhlert states, “[Chute’s] reading stops short of fully exploring the resonance between comics form and theoretical work on the representation and working through of trauma” (p. 56). I found Køhlert’s subsequent attempt to do so less convincing than Chute’s, which focuses on Gloeckner’s representations of female bodies and the agency of her own female body, rather than on the scenes of abuse that are Køhlert’s focus (even as some of the same images are discussed by both). Køhlert wants to prove that the autobiographical comics form is uniquely well suited to negotiate individual experiences of embodiment. At times, he sets text narratives, photography, and even motion pictures against autobiographical comics as less able to convey the intimacies and instabilities of embodied experience, a claim that many media scholars may find problematic. However, that argument should not invalidate the many insights into the analyses of the individual works presented. The affordances of the comics form—the ability to shift and juxtapose temporalities, the combination of image and word, the intimacy of being hand drawn—are all compelling reasons for readers and scholars to engage further with its genres. Accessible both to those with a developed interest in comics and those newly curious, I hope Køhlert’s book succeeds in drawing more scholarly and pedagogical attention to these challenging and engaging works.
{"title":"Trans Exploits: Trans of Color Cultures and Technologies in Movement","authors":"Q. Ngo","doi":"10.1080/07491409.2022.2041965","DOIUrl":"https://doi.org/10.1080/07491409.2022.2041965","url":null,"abstract":"explains stereotype as a visual concept as well as the historical inheritance of stereotyping in comics. Several well-chosen examples of El Rassi’s use of Arab stereotypes for purposes of subversion illustrate Køhlert’s analysis, including one in which El Rassi has placed his own headshot within a newspaper page filled with 9/11 terrorists, asking, “Could the average American distinguish me from a Muslim terrorist?” (Figure 5.7). Some readers may resist Køhlert’s more psychoanalytic analysis of the work of Phoebe Gloeckner. Gloeckner’s A Child’s Life and The Diary of a Teenage Girl have received a fair amount of scholarly attention previously, including an analysis in Chute’s Graphic Women, of which Køhlert states, “[Chute’s] reading stops short of fully exploring the resonance between comics form and theoretical work on the representation and working through of trauma” (p. 56). I found Køhlert’s subsequent attempt to do so less convincing than Chute’s, which focuses on Gloeckner’s representations of female bodies and the agency of her own female body, rather than on the scenes of abuse that are Køhlert’s focus (even as some of the same images are discussed by both). Køhlert wants to prove that the autobiographical comics form is uniquely well suited to negotiate individual experiences of embodiment. At times, he sets text narratives, photography, and even motion pictures against autobiographical comics as less able to convey the intimacies and instabilities of embodied experience, a claim that many media scholars may find problematic. However, that argument should not invalidate the many insights into the analyses of the individual works presented. The affordances of the comics form—the ability to shift and juxtapose temporalities, the combination of image and word, the intimacy of being hand drawn—are all compelling reasons for readers and scholars to engage further with its genres. Accessible both to those with a developed interest in comics and those newly curious, I hope Køhlert’s book succeeds in drawing more scholarly and pedagogical attention to these challenging and engaging works.","PeriodicalId":46136,"journal":{"name":"Womens Studies in Communication","volume":"45 1","pages":"114 - 116"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45348418","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 : 2022-01-02DOI: 10.1080/07491409.2022.2030607
Janell C. Bauer, Prisca Ngondo
Abstract This article pairs autoethnography with a thematic analysis of memes in a private Facebook group made up of academic mothers during the first year of the COVID-19 pandemic. The analysis illustrates the challenges members faced during the pandemic related to their roles as mothers, academics, caregivers, and partners and how they used memes as a mechanism for virtual support in 2020 and 2021. Group members used memes to communicate about four primary themes: the stress and humor that arose from pandemic conditions, mothering during the pandemic, work–life tensions, and pressures for research productivity. Throughout the themes, humor offered a foundation for support and connection. The analysis provides insights into the potential for professional support networks online and how humor, shared via social media, can create space for vulnerability and connection among colleagues. The authors also consider the ambivalent dynamics that online social support offers. While it may reduce tension and provide emotional comfort, it also has the potential to uphold gendered expectations at home and at work.
{"title":"Moms, Memes, and Mitigating Pandemic Stress: Exploring Themes and Implications in an Academic Mamas’ Facebook Group","authors":"Janell C. Bauer, Prisca Ngondo","doi":"10.1080/07491409.2022.2030607","DOIUrl":"https://doi.org/10.1080/07491409.2022.2030607","url":null,"abstract":"Abstract This article pairs autoethnography with a thematic analysis of memes in a private Facebook group made up of academic mothers during the first year of the COVID-19 pandemic. The analysis illustrates the challenges members faced during the pandemic related to their roles as mothers, academics, caregivers, and partners and how they used memes as a mechanism for virtual support in 2020 and 2021. Group members used memes to communicate about four primary themes: the stress and humor that arose from pandemic conditions, mothering during the pandemic, work–life tensions, and pressures for research productivity. Throughout the themes, humor offered a foundation for support and connection. The analysis provides insights into the potential for professional support networks online and how humor, shared via social media, can create space for vulnerability and connection among colleagues. The authors also consider the ambivalent dynamics that online social support offers. While it may reduce tension and provide emotional comfort, it also has the potential to uphold gendered expectations at home and at work.","PeriodicalId":46136,"journal":{"name":"Womens Studies in Communication","volume":"45 1","pages":"45 - 69"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41431961","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 : 2022-01-02DOI: 10.1080/07491409.2022.2025532
S. Blithe
I carefully placed my laptop on a box on my kitchen table and threw on a suit jacket over my pajama tank top. The kitchen is not the ideal place to work, but it has the best lighting, a nondistracting background, and the most reliable Wi-Fi in the house. Like many people in March 2020, I was working 100% from home due to the global shutdown during the early stages of the COVID-19 pandemic. I felt relatively equipped to work from home; much of my work as an academic is often conducted remotely, and I had the technology I needed to do my job. As I readied my makeshift workspace for an important research interview, my son entered the kitchen.
{"title":"Collective Rage: Unpacking the Constraints, Privilege, and Roles of Academic Mothers During a Global Pandemic","authors":"S. Blithe","doi":"10.1080/07491409.2022.2025532","DOIUrl":"https://doi.org/10.1080/07491409.2022.2025532","url":null,"abstract":"I carefully placed my laptop on a box on my kitchen table and threw on a suit jacket over my pajama tank top. The kitchen is not the ideal place to work, but it has the best lighting, a nondistracting background, and the most reliable Wi-Fi in the house. Like many people in March 2020, I was working 100% from home due to the global shutdown during the early stages of the COVID-19 pandemic. I felt relatively equipped to work from home; much of my work as an academic is often conducted remotely, and I had the technology I needed to do my job. As I readied my makeshift workspace for an important research interview, my son entered the kitchen.","PeriodicalId":46136,"journal":{"name":"Womens Studies in Communication","volume":"45 1","pages":"1 - 9"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42163860","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 : 2022-01-02DOI: 10.1080/07491409.2021.2021774
M. Morrissey
Abstract During the height of the COVID-19 pandemic, the practice of podding was encouraged in public discourse as a way to manage the isolation and stress many people experienced. While described as a creative mode of relationality that extended traditional nuclear family units, the public discourse about forming quarantine pods during the COVID-19 pandemic was a strategic bordering practice. Even though some community members (LGBTQIA+ and otherwise) celebrated the resilient ways in which queer experiences could model these nonnormative intimacies, public discourses about pandemic podding limited the potential to imagine new ways of being, often further entrenching normative ideals of citizenship and heteronormative family making. Although uncharted modes of relationality such as podding offer the promise of inclusive, radical, and generative futures, the reactive, bounded, and formalistic construction of pandemic pods never fully materialized that future.
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Pub Date : 2022-01-02DOI: 10.1080/07491409.2022.2041966
Cora Butcher-Spellman
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Pub Date : 2022-01-02DOI: 10.1080/07491409.2022.2041967
Shuzhen Huang
{"title":"Queer Intercultural Communication: The Intersectional Politics of Belonging In and Across Differences","authors":"Shuzhen Huang","doi":"10.1080/07491409.2022.2041967","DOIUrl":"https://doi.org/10.1080/07491409.2022.2041967","url":null,"abstract":"","PeriodicalId":46136,"journal":{"name":"Womens Studies in Communication","volume":"45 1","pages":"119 - 121"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46020317","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 : 2021-10-02DOI: 10.1080/07491409.2021.1987813
Christina N. Baker
“Blackness is an immense and defiant joy,” Imani Perry recently declared in The Atlantic. This embrace of Black life reflects the Black feminist praxis of understanding joy and pleasure as forms of resistance, self-care, and power. To be clear, Perry asserts that “exhilaration in black life is not to mute or minimize racism, but to shame racism, to damn it to hell... . Do not misunderstand. This [joy] is not an absence of grief or rage, or a distraction. It is insistence.” Unlike Black feminist praxis, mainstream media has largely ignored or distorted the immense and defiant joy to which Perry refers in its representations of Black life. Narratives of loss, sorrow, violence, and anger have overwhelmingly driven most media that centers blackness. As such, it is not surprising that the relationship between blackness and joy or pleasure has been underexplored within communication scholarship. This forum, “Embracing Black Feminist Joy and Pleasure in Communication Studies,” places Black feminist explorations of joy and pleasure—broadly defined as a feeling of happiness, enjoyment, or satisfaction—in conversation with the field. The insistence on embracing individual and collective pleasure that has long been integrated into Black feminism is illuminated in Audre Lorde’s influential 1978 essay “Uses of the Erotic: The Erotic as Power.” Lorde argues that women have a particular capacity to experience a pleasurable sense of satisfaction in all areas of their lives when they are in touch with the internal sensation that she refers to as “the erotic.” Following Lorde’s work, contemporary Black feminists, such as Jennifer Nash, Joan Morgan, and adrienne maree brown, to name only a few, have similarly centered the role of pleasure in the lives of Black women. However, when Black feminist scholar bell hooks considered Black women’s relationship to media in her essay “The Oppositional Gaze: Black Female Spectators,” she observed that, for many Black women, their “encounter with the screen hurt.” While hooks placed hope in Black women’s ability to “contest, resist, revision, interrogate, and invent on multiple levels” as critical spectators, she primarily emphasized that the “oppositional gaze” that Black women employ when engaging with media can support Black women in navigating the pain, rather than embracing the pleasure, in media. It is worth noting that communication scholarship has addressed the affective sensation of enjoyment or pleasure gained from media. And there is a glimmer in recent
“黑色是一种巨大的、挑衅的快乐，”伊马尼·佩里(Imani Perry)最近在《大西洋月刊》(The Atlantic)上宣称。这种对黑人生活的拥抱反映了黑人女权主义者的实践，即把快乐和快乐理解为抵抗、自我照顾和权力的形式。需要明确的是，佩里断言，“黑人生活中的乐趣不是让种族主义消音或最小化，而是让种族主义蒙羞，让它见鬼... .。不要误解。这种(快乐)不是没有悲伤或愤怒，也不是分心。这是坚持。”与黑人女权主义实践不同，主流媒体在很大程度上忽视或扭曲了佩里在描述黑人生活时所提到的巨大而叛逆的快乐。对失落、悲伤、暴力和愤怒的叙述压倒性地推动了大多数以黑人为中心的媒体。因此，在传播学研究中，黑人与快乐或愉悦之间的关系没有得到充分的探索，这并不奇怪。这个论坛，“在传播研究中拥抱黑人女权主义者的快乐和快乐”，将黑人女权主义者对快乐和快乐的探索——广义上定义为一种幸福、享受或满足的感觉——与该领域的对话。坚持拥抱个人和集体的快乐，长期以来一直融入黑人女权主义，这在奥德丽·洛德1978年的一篇有影响力的文章《情色的使用:情色作为力量》中得到了阐释。洛德认为，当女性接触到她称之为“情欲”的内在感觉时，她们在生活的各个方面都有一种特殊的能力来体验一种愉快的满足感。在洛德的作品之后，当代黑人女权主义者，如詹妮弗·纳什、琼·摩根和阿德里安娜·马里·布朗，仅举几例，也同样把快乐放在黑人女性生活中的角色中心。然而，当黑人女权主义学者贝尔·胡克斯(bell hooks)在她的论文《对立的凝视:黑人女性观众》(The Oppositional Gaze: Black Female spectator)中考虑黑人女性与媒体的关系时，她观察到，对许多黑人女性来说，她们“与屏幕的接触很痛苦”。虽然胡克斯把希望寄托在黑人女性作为批判性观众“在多个层面上进行竞争、抵制、修正、质问和创造”的能力上，但她主要强调的是，黑人女性在与媒体接触时所使用的“对立凝视”可以帮助黑人女性在媒体中导航痛苦，而不是拥抱快乐。值得注意的是，传播学已经开始研究从媒介中获得的享受或愉悦的情感感受。最近出现了一丝曙光
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Pub Date : 2021-10-02DOI: 10.1080/07491409.2021.1987822
C. Steele
On every app, much like in every facet of their offline worlds, Black women deal with racism and sexism, both as embedded features in the design of apps (Benjamin, 2019; Noble, 2018) and from individuals who make use of the affordances of platforms to harass and enact violence (Tynes, Lozada, Smith, & Stewart, 2018). TikTok does not escape this milieu. Black women on the app are simultaneously expected to perform and create content on demand while dealing with algorithms and individuals who exploit and enact violence upon them. Yet, amid this reality, Black women creators have used TikTok to form community and participate in the pleasure of producing and circulating their cultural artifacts in short video content. Folklorist and anthropologist Zora Neale Hurston (1934/2000) explains, “The Negro’s universal mimicry is not so much a thing in itself as an evidence of something that permeates his entire self. And that thing is drama.” I contend that Black women’s use of TikTok, a site that invites and demands mimicry, provides us an opportunity to use a different Black feminist lens to interpret content: that of pleasure as made manifest in the drama. I examine Black women content creators on TikTok who use humor, sexuality, and dance to craft spaces of pleasure for themselves. Leaning into the drama, I locate content creation as part of a libidinal pleasure politic separate from a discussion of resistance or economic or social capital. To analyze their praxis, I return to an essay by Hurston, written in 1934, called “Characteristics of Negro Expression.” With Hurston’s words as a guide, I trace the content of Black women on TikTok as agentic feminist praxis that emphasizes their pleasure while utilizing platform-embedded affordances.
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Pub Date : 2021-10-02DOI: 10.1080/07491409.2021.1987817
P. Johnson
April 2, 2021, marked the 25th anniversary of the release of R&B singer Maxwell’s debut album Maxwell’s Urban Hang Suite. At the time of its release, the album, which chronicles the progression of a heterosexual romantic relationship, was heralded as a thoughtful alternative to the more gratuitously raunchy work produced by other Black male vocalists of the era. Furthermore, the album, along with D’Angelo’s 1995 album Brown Sugar and Erykah Badu’s 1997 album Baduizm, has been credited with ushering in the neo-soul movement within Black popular music during the midto late 1990s. R&B has often been much maligned as “rhythm and bullshit,” a vapid genre fueled by fantasy and escapism, offering little in the way of Black politics. The denigration of R&B became particularly pronounced as hip-hop emerged as a dominant cultural and musical phenomenon. Mark Anthony Neal (2003) observes, “As hip-hop music began to demand more airplay, generate more sales, and dominate the black social imagination, it was seen as a window into the travails of black America, whereas R&B was simply seen as a ‘bunch of love songs’” (p. 3). Robert Patterson (2019) makes a similar observation regarding how R&B is taken up in relationship to hip-hop. He writes:
2021年4月2日，R&B歌手Maxwell的首张专辑《Maxwell’s Urban Hang Suite》发行25周年。在发行时，这张记录异性恋浪漫关系发展的专辑被誉为是对那个时代其他黑人男歌手创作的更为无端的淫秽作品的一种深思熟虑的替代。此外，这张专辑，连同D’Angelo 1995年的专辑《红糖》和Erykah Badu 1997年的专辑“Baduizm”，被认为在20世纪90年代中后期引领了黑人流行音乐中的新灵魂运动。R&B经常被诟病为“节奏和废话”，这是一种由幻想和逃避现实推动的乏味类型，几乎没有黑人政治的影子。随着嘻哈音乐成为主流文化和音乐现象，对R&B的诋毁变得尤为明显。Mark Anthony Neal（2003）指出，“随着嘻哈音乐开始要求更多的播放，产生更多的销量，并主导黑人的社会想象，它被视为了解美国黑人苦难的窗口，而R&B则被简单地视为‘一堆情歌’”（第3页）。罗伯特·帕特森（Robert Patterson，2019）对R&B与嘻哈的关系进行了类似的观察。他写道：
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Pub Date : 2021-10-02DOI: 10.1080/07491409.2021.1987823
K. Scott
As I watched the opening ceremony of the 2020 Olympics—held in the summer of 2021, as we continued to wait for an end to the pandemic that shuttered life as we know it—I, like so many others, was anticipating the joy that would come from watching athletes give it their all to bring home the gold. And like many other Black women I know, I was excited to see Simone Biles, who has been dubbed the greatest of all time in women gymnastics—the GOAT!—a young woman who has continually outperformed herself, created new, gravity-defying movements, and given a face to what it means to be young, gifted, and Black. Biles’s victory in the summer of 2021 was to be unprecedented—and it still was, just not in a way that was expected. When Biles withdrew from various elements of Olympic competition, stating she was prioritizing her mental health, it was a victory for Black women who have rarely been allowed to take time for self-care when feeling unsure and facing danger. The mandate of Black women’s mythical strength demands we go on no matter what, right? To say, “No, I need to take care of me and my emotional health” is indeed a victory. Biles prioritizing her humanity underscored the words of another young, gifted, and Black Olympian: track phenom Sha’Carri Richardson, who blazed through the trials only to be disqualified days later when THC showed up in a postrace drug test. She admitted to using marijuana to ease her pain after learning from a reporter during an interview that her birth mother had recently died. And as many of us have no doubt done when devastated, without adequate time to process emotions she did what she needed to do to help her get through and do her “job.” Her words went viral on social media: “I am human.” For many Black women, that claim became the social media mantra of the summer as Facebook feeds and Instagram photos captured what it meant for a Black woman to admit that emotions are also who we are. As I write about Black women and self-care in late 2021, I find it impossible to not honor and acknowledge the young, gifted, and Black Olympians Simone Biles and Sha’Carri Richardson and tennis champion Naomi Osaka, who withdrew from the
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