Pub Date : 2024-01-01Epub Date: 2022-08-04DOI: 10.1177/14647001221114611
Candace Johnson
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Pub Date : 2023-12-17DOI: 10.1177/14647001231209873
Myka Tucker-Abramson
Chris Kraus is often read as a chronicler of women artists’ experience: their frustrated desires, stifled creativity and stolen labour. But while these are the struggles that her protagonists face, the novel sets such struggles within the pressing context of American Empire's expansion and reorganisation in the post-Vietnam era. The juxtaposition between these levels is what generates the drama of Kraus’ work. Foregrounding these juxtapositions, this article situates Kraus’ novels within a longer tradition of feminist conceptual artists like Martha Rosler who took the labour and domination of predominantly white middle-class housewives as a standpoint from which to attempt to understand the expansion of US-backed global capitalism. Specifically, the article draws on the concept of ‘countertopographies’ developed by feminist geographer Cindi Katz to argue that Rosler and Kraus’ work offers a form of ‘countertopographic aesthetics’. That is, they both turn to the sphere of the reproductive as a site from which to map the uneven effects of global capitalism, while also foregrounding their own uneasy relationship with the imperialist project of mapping itself, by drawing attention to the ideological practices and limits of their very mappings. To illustrate this claim, the article concludes by turning to a partially buried event in Kraus’ Summer of Hate (2012): the 1983 Clifton-Morenci Copper Strike, a crucial but often overlooked flashpoint in the roll-out of neoliberalism. This eighteen-month strike was fought by a largely Mexican-American workforce, and the Women's Auxiliary, who joined a long history of working-class housewives like the Housewives’ Committee of Siglo X in Bolivia in becoming strike leaders. I argue that the strike is both crucial to the conjecture that Kraus’ narrative traces, and also illuminating of the limit point of the protagonists’ politics and the form of mapping that is possible from such a perspective.
克里斯-克劳斯通常被视为女性艺术家经历的记录者：她们受挫的欲望、被扼杀的创造力和被偷走的劳动力。尽管这些都是她的主人公所面临的挣扎，但小说将这些挣扎置于美帝在后越战时期扩张和重组的紧迫背景下。这些层面之间的并置正是克劳斯作品的戏剧性所在。以这些并置为前景，本文将克劳斯的小说置于玛莎-罗斯勒（Martha Rosler）等女权主义概念艺术家的悠久传统之中，这些艺术家以白人中产阶级家庭主妇的劳动和统治为立场，试图理解美国支持的全球资本主义的扩张。具体而言，文章借鉴了女权主义地理学家辛迪-卡茨（Cindi Katz）提出的 "反托邦"（countertopographies）概念，认为罗斯勒和克劳斯的作品提供了一种 "反托邦美学"。也就是说，她们都将生殖领域作为一个场所，以此来绘制全球资本主义的不均衡影响，同时也通过提请人们注意她们绘制地图的意识形态实践和局限性，突出了她们自身与帝国主义绘制地图项目本身的不稳定关系。为了说明这一点，文章最后提到了克劳斯的《仇恨之夏》（2012 年）中被部分掩盖的一个事件：1983 年克利夫顿-莫伦奇铜矿大罢工，这是新自由主义发展过程中一个至关重要但却经常被忽视的爆发点。这场为期 18 个月的罢工主要是由墨西哥裔美国工人和妇女辅助组织发起的，她们加入了历史悠久的工人阶级家庭主妇行列，如玻利维亚的西格洛-X 家庭主妇委员会（Housewives' Committee of Siglo X），成为罢工的领导者。我认为，罢工对于克劳斯的叙事所追溯的猜想至关重要，同时也揭示了主人公政治的极限点，以及从这一视角出发可能得出的映射形式。
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Pub Date : 2023-12-01DOI: 10.1177/14647001221075538
Nitza Berkovitch, S. Manor
In this article, we employ grandmothers’ childcare as a lens to explore the changing relations between familism, individualism and neoliberalism. More generally, we examine the connections between the political economy and the intimate moral economy of childcare work performed by grandmothers. Based on semi-structured in-depth interviews with twenty retired women in Israel, we examine how they negotiate, comply and resist the expectations that they will help ‘fill in’ the ‘care deficit’ resulting from neoliberal policies and labour market practices. We show how grandmothers navigate between family ideologies and individualistic cultural imperatives, constituting themselves as agentive subjects who can determine the conditions in which they meet their families’ care expectations while challenging the invisibility of their work. Thus, using Israel as a case study, we argue that familism and individualism, working against each other as well as together, create tensions while mediating the political economy and the intimate moral economy based on the love, commitment and ideology of the ‘good mother’. More broadly, we assert that neoliberalism strengthens family and familism and, at the same time, familism facilitates the neoliberal labour market and economy while also freeing the state from having to support families with children.
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Pub Date : 2023-11-26DOI: 10.1177/14647001231209902
Daniella Sánchez-Russo
This article shines light on the interconnectedness of reproductive labour and Latin American literature through two Chilean novels that explore the relationship between peripheral capitalism and domestic servitude: José Donoso's The Obscene Bird of Night and Diamela Eltit's Mano de Obra. The study of these texts allows for a periodisation of the reproductive sphere under different phases of capitalist accumulation, and exposes an association between the literary treatment of domestic service and the achievement of highly experimental narratives in Latin America. My reading of Obscene goes beyond viewing this novel as postmodernist fiction, by showing how its nightmarish poetics are a consequence of the transformation of the oligarchic household vis-a-vis the collapse of systems of bonded labour in the 1960s. Whereas the prose of Obscene provides a harrowing descent into the intimate connections between master and servant at the moment of their decline, Mano de Obra unveils a surgical prose capable of expressing the new impersonality of social reproduction in the subsequent neoliberal period. Of special interest to this analysis is how Eltit suggests that even the proletariat household can recreate exploitative patterns of domestic servitude to guard against complete immiseration. Three main conclusions result from this reading. First, Latin American fiction is an important literary archive from which capitalism's exploitation of the reproductive sphere can be excavated. Second, Latin American literature shows formal uniqueness when representing domestic service in the periphery. Lastly, fictional representations of domestic service help us understand the institution not as remnant of previous modes of production, but as capitalist strategy for the reproduction of social forces that underpay the cost of life-making processes.
本文通过两部探讨外围资本主义与家庭奴役关系的智利小说，揭示了生育劳动与拉丁美洲文学之间的相互联系：这两部小说分别是何塞-多诺索（José Donoso）的《黑夜淫鸟》（The Obscene Bird of Night）和迪亚梅拉-埃尔蒂特（Diamela Eltit）的《工作狂》（Mano de Obra）。通过对这些文本的研究，可以对资本主义积累的不同阶段下的生殖领域进行分期，并揭示出拉美文学对家政服务的处理与高度实验性叙事的成就之间的关联。我对《淫秽》的解读并不局限于将这部小说视为后现代主义小说，而是通过展示其梦魇般的诗学是如何随着 20 世纪 60 年代抵押劳工制度的瓦解而导致寡头家庭转型的结果。淫秽》的散文描写了主人与仆人之间的亲密关系在其衰落时的惨状，而《工作狂》则揭示了一种外科散文，能够表达随后的新自由主义时期社会再生产的新的非个人性。本分析特别感兴趣的是，埃尔蒂特如何表明，即使是无产阶级家庭也可以重新创造剥削性的家庭奴役模式，以防止完全的不平等。这一解读得出三个主要结论。首先，拉美小说是一个重要的文学档案库，可以从中挖掘出资本主义对生殖领域的剥削。其次，拉美文学在表现边缘地区的家政服务时表现出了形式上的独特性。最后，对家政服务的虚构表现有助于我们理解，家政服务不是以往生产方式的残余，而是资本主义复制社会力量的策略，这些社会力量支付的生活成本过低。
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Pub Date : 2023-11-16DOI: 10.1177/14647001231209901
S. Deckard
Building on the insights of feminist scholars such as Maria Mies, Wilma Dunaway and Harriet Friedmann that ‘women's work’ in the realm of social reproduction, particularly in the (semi-)peripheries of the world-ecology, often draws heavily upon natural resources and is thus preponderantly affected by forms of resource depletion and environmental crisis including water scarcity, land degradation, pollution and toxification, this article argues for an approach to world-literary criticism that incorporates the insights of social reproduction feminism in order to interpret how literature of the capitalist world-ecology mediates social reproduction. I contend that world-literary criticism can help illuminate the socio-ecology of gendered forms of labour, by analysing how bodily dispositions, subjectivities and habituses corresponding to gendered divisions at household and systemic scales are mediated in specific literary aesthetics, and recuperating the utopian prospects of how texts imagine forms of struggle as arising from the contradictions immanent to capital's dependence on the unpaid work of both nature and social reproduction. In particular, reading novels by Kamala Markandaya, Ousmane Sembène and Latife Tekin, I explore three different world-literary depictions of types of environment-making labour that have been gendered as ‘women's work’ – foodgetting, water-carrying and waste-picking – in order to examine how novels imagine the terrain of social reproduction both as a site of appropriation, violence and crisis, and as the potential ground for organised resistance.
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Pub Date : 2023-11-14DOI: 10.1177/14647001231209900
Treasa De Loughry
Following Giovanna Di Chiro's argument for a ‘coalitional’ approach to social reproduction as environmental issue, this article examines representations of magic and witchcraft in Yaba Badoe's young adult novel Wolf Light as registering the impact of neoliberal ‘extractivist heteropatriarchal capitalism’. Accusations of witchcraft were, and still are, associated with grabs for resources, wealth and class positions occupied by women. To this we could add the notion of the environment as a further realm under threat by increasingly toxic strategies of extraction and disposal. This article extends these conceptual frameworks to consider how Yaba Badoe's speculative text, set in Ghana, Cornwall and Mongolia, depicts feminised magic and transformative supernatural powers as ways of combatting global extractivism. Significantly, ecological destruction has yet to be adequately theorised in relation to social reproduction theory. So too its cultural registration in fictions from peripheral areas long associated with extraction. Through focusing on Wolf Light, this article will theorise how the book's formal mode, alongside its figuration of witches as eco-utopian earth defenders and transformative shape-shifters, offers forms of cultural resistance. Critically, the novel builds consciously on global histories of women's oppression – including the resurgence of witchcraft accusations in Ghana, as discussed in Badoe's research for her film The Witches of Gambaga, and early modern British witch hunts. These narratives are reinvested with a focus on local struggle and resistance as imagined through the text's three main protagonists, whose shape-shifting abilities and trans-border magical connections provide a way of protesting neoliberalism's compound crises of reproduction.
乔凡娜-迪基罗（Giovanna Di Chiro）主张以 "联盟 "的方式将社会再生产视为环境问题，本文据此研究了亚巴-巴多（Yaba Badoe）的青年小说《狼光》中的魔法和巫术，认为其反映了新自由主义 "采掘主义异质资本主义 "的影响。对巫术的指控过去和现在都与争夺资源、财富和女性所处的阶级地位有关。除此以外，我们还可以加上一个概念，即环境是受到日益有毒的开采和处理策略威胁的另一个领域。本文对这些概念框架进行了扩展，探讨了亚巴-巴多（Yaba Badoe）以加纳、康沃尔和蒙古为背景的推测性文本如何将女性化魔法和变革性超自然力量描绘成对抗全球采掘主义的方式。值得注意的是，生态破坏尚未与社会再生产理论充分结合起来。在长期与采掘业相关的边缘地区的小说中，生态破坏的文化注册也是如此。通过聚焦《狼灯》，本文将从理论上探讨该书的形式模式，以及它将女巫塑造成生态乌托邦式的地球卫士和变形者的过程，是如何提供文化抵抗形式的。从批判的角度看，这部小说有意识地建立在全球妇女受压迫的历史之上--包括巴多为其电影《甘巴加的女巫》所做的研究中讨论的加纳巫术指控卷土重来，以及英国早期的现代猎巫活动。这些叙事被重新赋予了新的内涵，重点是通过文本中的三位主角所想象的当地斗争和反抗，她们的变形能力和跨国界的魔法联系为抗议新自由主义的复合再生产危机提供了一种方式。
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Pub Date : 2023-11-09DOI: 10.1177/14647001231209904
Kate Houlden
This article compares cultural production about 1980s working-class industrial England with that of contemporary, middle-class rural Ireland in order to identify aesthetic through lines in the portrayal of social reproductive violence across both early- and later-stage neoliberalism. It argues that, despite their differences in setting and demographic, novels by Pat Barker and Mike McCormack use peripheral political experience to show the bodies of women bearing the brunt of late capitalism's horrors. Barker's Union Street (1982) serves as an early warning of the neoliberal consensus-to-come, bringing to life the geographic peripheralisation that would accompany deindustrialisation. It portrays the conflicted dynamic between childhood and capital, also anticipating the ways in which care work would increasingly be externalised onto women in the latter half of the twentieth century and beyond. This overlaps with the 1987 film Rita, Sue and Bob Too's portrayal of childhood sexual vulnerability, as well as Letter to Brezhnev (1985) and its rendering of capitalism's consumption of women. Instead of the realism for which these films are known, Union Street uses gothic modes and the motif of vomiting in ‘irrealist’ fashion. So too, Mike McCormack's Mayo-set 2016 novel Solar Bones employs spectrality, as well as ideas of contamination, to evoke the damage wrought by a now-entrenched neoliberalism as it imperils the middle classes. The novel's recognition of female social reproductive labour is more oblique, but women are again shown to be at the coalface of neoliberal violence, their very bodies marshalled to detect and, crucially, resist gendered precarity. In this, I draw parallel with the Dundalk-set film Kissing Candice (2017) , which uses gothic tropes to show rural dispossession writ large through the body of a teenage girl.
本文比较了20世纪80年代英国工人阶级的工业文化生产与当代爱尔兰中产阶级农村的文化生产，以便通过新自由主义早期和后期对社会生殖暴力的描绘来识别美学。文章认为，尽管帕特·巴克和迈克·麦科马克的小说背景和人口结构不同，但他们都用边缘政治经验来展示女性的身体在晚期资本主义的恐怖中首当其冲。巴克的《联合街》(1982)是即将到来的新自由主义共识的早期预警，它将伴随去工业化而来的地理外围化变为现实。它描绘了童年和资本之间的冲突动态，也预测了在20世纪后半叶及以后，护理工作将越来越多地外部化到女性身上的方式。这与1987年的电影《丽塔、苏和鲍勃·图》对儿童性脆弱性的描绘，以及1985年的《给勃列日涅夫的信》(Letter to Brezhnev)和它对资本主义对女性的消费的渲染重叠。与这些电影众所周知的现实主义不同，《联合街》采用了哥特式模式和“非现实主义”风格的呕吐主题。同样，迈克·麦科马克(Mike McCormack) 2016年以梅奥为背景的小说《太阳之骨》(Solar Bones)也运用了幽灵和污染的概念，来唤起现在根深蒂固的新自由主义对中产阶级造成的危害。小说对女性社会再生产劳动的承认更加隐晦，但女性再次被展示在新自由主义暴力的风口浪尖上，她们的身体被组织起来探测，更重要的是，抵制性别不稳定。在这一点上，我将其与邓达克电影《亲吻坎迪斯》(Kissing Candice, 2017)进行了比较，后者使用哥特式的比喻，通过一个十几岁女孩的身体来展示农村的剥夺。
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Pub Date : 2023-11-07DOI: 10.1177/14647001231209890
Christine Okoth
This article argues that the postcolonial African novel identifies land as the centre of social reproduction. Beginning with an analysis of Silvia Federici's Nigerian writing and a further investigation into social reproduction theory from and about Africa, this article develops a reading method which traces the novel form's use of land as the generator of plot. Yvonne Owuor's Dust exemplifies how the novel as a colonial form falls into crisis around an attempt to reach for the narratively reproductive potential of disavowed, arid lands at the borders of the postcolonial nation-state. As the readings in this article demonstrate, Owuor's novel both chimes with the interventions of those theorists who depict social reproduction in Africa as a general theory of feminisation – of people and land alike – and offers an answer to how social reproduction might be rendered in literary formal terms. This article is therefore an investigation into the ‘where’ of social reproduction in the contemporary African novel.
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Pub Date : 2023-10-26DOI: 10.1177/14647001231206026
Sarah Cefai
This article draws on feminist cultural studies, media and cultural theory, and engages with feminist law and criminology, to argue for a newly invigorated conceptualisation of consent in feminist theory. Rather than advance a particular feminist theory of consent, the article argues for a feminist cultural media theory of commonsense consent that is both sensory and representational. This theory acknowledges that there is no concept of consent reserved for sexual encounters. Rather, a more universal, commonsense theory, shaped as much by twentieth-century media as eighteenth-century political philosophy, informs how consent shows up to social experience. The article offers a revision of feminist discussions about consent in law, political philosophy and cultural studies, proposing that accounts such as Laura Kipnis’ Unwanted Advances: Sexual Paranoia Comes to Campus can be read as descriptions of consent's affective structure. Feminist accounts have underestimated the implications of the involvement of media, from early cinema through to contemporary social media, in co-locating consent with deception. This article shows how the media concept of consent-deception plays a role in suspicion and betrayal, both of which act as consent's structures of feeling. To further probe an enquiry into how personalised media are transforming commonsense consent, the article discusses the TV programme The Tinder Swindler. Various production techniques encourage a view of social media as a complete encapsulation of the social life and affectivity of consent-deception, suggesting a number of implications for a feminist cultural media theory of commonsense consent. In particular, the programme asks us to problematise the evidentiary status of informational social media linked to the changing perceptibility of consent-deception.
本文借鉴女性主义文化研究、媒体和文化理论，并结合女性主义法和犯罪学，在女性主义理论中提出了一种全新的同意概念。这篇文章并没有提出一种特定的女性主义同意理论，而是提出了一种女性主义文化媒体理论，即感性和代表性的常识同意理论。这一理论承认，对于性接触没有保留同意的概念。更确切地说，一个更普遍的、常识性的理论，由20世纪的媒体和18世纪的政治哲学共同塑造，告诉人们同意是如何出现在社会经验中的。这篇文章对法律、政治哲学和文化研究中关于同意的女权主义讨论进行了修订，提出劳拉·基普尼斯(Laura Kipnis)的《不想要的进步:校园里的性偏执》(Sexual Paranoia Comes to Campus)等文章可以被解读为对同意的情感结构的描述。从早期的电影到当代的社交媒体，女权主义的说法低估了媒体参与的影响，将同意与欺骗放在一起。本文展示了媒体的同意欺骗概念如何在怀疑和背叛中发挥作用，这两者都是同意的感觉结构。为了进一步探讨个性化媒体是如何改变常识性同意的，本文讨论了电视节目《Tinder Swindler》。各种生产技术鼓励将社交媒体视为社会生活和同意欺骗的情感的完整封装，这对常识同意的女权主义文化媒体理论提出了一些暗示。特别是，该计划要求我们对信息社交媒体的证据地位提出问题，这些证据地位与不断变化的同意欺骗的可感知性有关。
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