Abstract:This essay considers how queer Latinx recreational sporting communities construct homosocial environments through their occupation of public spaces in Los Angeles. Field observations and ethnographic analysis identify how soccer communities provide Latinx women access to homosocial spaces through the social networks they create on and off the fields. The relationships and interactions of the participants in women's leagues serve as case studies of the radical homo-intimate formations within the Latinx community. The amalgamation of homonormative and heteronormative identities within women's teams alludes to the tacit treatment of sexuality within leisure sporting community spaces. The narratives of league women grant an auxiliary conceptualization of Latinx identity formation and negotiations of belonging outside the frameworks of the traditional Latino community and the hegemonic gender and sexual body politics of the US state.
{"title":"Nos Vemos en la Cancha: Latinx Women Athletes Making Place in Los Angeles","authors":"K. Pulupa","doi":"10.1353/aq.2023.a905864","DOIUrl":"https://doi.org/10.1353/aq.2023.a905864","url":null,"abstract":"Abstract:This essay considers how queer Latinx recreational sporting communities construct homosocial environments through their occupation of public spaces in Los Angeles. Field observations and ethnographic analysis identify how soccer communities provide Latinx women access to homosocial spaces through the social networks they create on and off the fields. The relationships and interactions of the participants in women's leagues serve as case studies of the radical homo-intimate formations within the Latinx community. The amalgamation of homonormative and heteronormative identities within women's teams alludes to the tacit treatment of sexuality within leisure sporting community spaces. The narratives of league women grant an auxiliary conceptualization of Latinx identity formation and negotiations of belonging outside the frameworks of the traditional Latino community and the hegemonic gender and sexual body politics of the US state.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"75 1","pages":"567 - 588"},"PeriodicalIF":0.7,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43049229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Playing That Crystal Flute: Black Interventions in the Sonic Archives","authors":"K. Moriah","doi":"10.1353/aq.2023.a898169","DOIUrl":"https://doi.org/10.1353/aq.2023.a898169","url":null,"abstract":"","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"75 1","pages":"395 - 403"},"PeriodicalIF":0.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66308602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For example, Gilmore notes that few people asked why California prison growth came to a halt in 2011 after over twenty years of expansion. These themes challenge the notion that prisons are I inevitable i , a deliberate fiction created to naturalize prisons and one that Gilmore's work methodically disassembles. 4 Ruth Wilson Gilmore, "Mothers Reclaiming Our Children", in I Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California i (Berkeley: University of California Press, 2007), 181-240;Gilmore, "Public Enemies and Private Intellectuals: Apartheid USA", in I Abolition Geography i , 78-91;Gilmore, "You Have Dislodged a Boulder: Mothers and Prisoners in the Post Keynesian California Landscape", in I Abolition Geography i , 355-409. [Extracted from the article] Copyright of American Quarterly is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)
{"title":"Against Inevitability","authors":"Alisa Bierria","doi":"10.1353/aq.2023.a898164","DOIUrl":"https://doi.org/10.1353/aq.2023.a898164","url":null,"abstract":"For example, Gilmore notes that few people asked why California prison growth came to a halt in 2011 after over twenty years of expansion. These themes challenge the notion that prisons are I inevitable i , a deliberate fiction created to naturalize prisons and one that Gilmore's work methodically disassembles. 4 Ruth Wilson Gilmore, \"Mothers Reclaiming Our Children\", in I Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California i (Berkeley: University of California Press, 2007), 181-240;Gilmore, \"Public Enemies and Private Intellectuals: Apartheid USA\", in I Abolition Geography i , 78-91;Gilmore, \"You Have Dislodged a Boulder: Mothers and Prisoners in the Post Keynesian California Landscape\", in I Abolition Geography i , 355-409. [Extracted from the article] Copyright of American Quarterly is the property of Johns Hopkins University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"29 1","pages":"365 - 370"},"PeriodicalIF":0.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41263773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"US Urbanism and Its Pacific Histories","authors":"Kelema Lee Moses","doi":"10.1353/aq.2023.a898171","DOIUrl":"https://doi.org/10.1353/aq.2023.a898171","url":null,"abstract":"","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"75 1","pages":"419 - 432"},"PeriodicalIF":0.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43365353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this essay, I account for the continuum of inclusion, regulation, and historical revision formative to "Muslim American" iconography in the late war on terror era. In 2017, a poster of a South Asian Muslim American woman wearing a hijab in the style of the United States flag was touted by transnational media as "the face of the Trump resistance" and carried across pro-immigration and feminist protests that imagined a more inclusive state. It was also rebuked by Muslims for desanctifying the hijab through the US flag, perceived as symbol of the state's settler-imperial violence. Tracing the poster's production—from its source artwork to its distinct revisions—and mass circulations, I consider the intersections of race, gender, and secularism in US politics, markets, and aesthetics. I situate the poster within uneven neoliberal art markets that commodify dissent as well as flexible genealogies of secular arts and civil religion, which racially discipline Islam into an aesthetic of the US state and its resistances. I then focus on the poster's mobilization in the Women's March on Washington, where Muslim women, Islam, and transnational solidarities with Palestine became subjects of feminist inclusion and contention. I argue the shifting aesthetics of gendered-racial and secular (neo)liberalism converge on Muslim American iconographies of protest and inclusion while managing the terms of Muslim protest and inclusion.
{"title":"Muslim American Protest Iconography and Revisionism: On the Gendered-Racial and Secular Aesthetics of (Neo)Liberal Dissent","authors":"Najwa Mayer","doi":"10.1353/aq.2023.a898161","DOIUrl":"https://doi.org/10.1353/aq.2023.a898161","url":null,"abstract":"Abstract:In this essay, I account for the continuum of inclusion, regulation, and historical revision formative to \"Muslim American\" iconography in the late war on terror era. In 2017, a poster of a South Asian Muslim American woman wearing a hijab in the style of the United States flag was touted by transnational media as \"the face of the Trump resistance\" and carried across pro-immigration and feminist protests that imagined a more inclusive state. It was also rebuked by Muslims for desanctifying the hijab through the US flag, perceived as symbol of the state's settler-imperial violence. Tracing the poster's production—from its source artwork to its distinct revisions—and mass circulations, I consider the intersections of race, gender, and secularism in US politics, markets, and aesthetics. I situate the poster within uneven neoliberal art markets that commodify dissent as well as flexible genealogies of secular arts and civil religion, which racially discipline Islam into an aesthetic of the US state and its resistances. I then focus on the poster's mobilization in the Women's March on Washington, where Muslim women, Islam, and transnational solidarities with Palestine became subjects of feminist inclusion and contention. I argue the shifting aesthetics of gendered-racial and secular (neo)liberalism converge on Muslim American iconographies of protest and inclusion while managing the terms of Muslim protest and inclusion.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"75 1","pages":"309 - 334"},"PeriodicalIF":0.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45786390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay produces a reading of Qallunaat—glossed as white people, or sometimes non-Inuit—as they come into view via two things: their relationships with Inuit and with animals, and their reactions to Inuit relationships with animals. Alongside three filmic texts that appear—especially to those who follow Qallunaat conventions—to be about Inuit and Inuit practices of hunting and eating seals, this essay reads against the (perceived) grain to shine the spotlight on Qallunaat: What can the tensions between eating and critical distance tell us about Qallunaat cosmology? The three filmic texts in question are the Qallunaaq filmmaker Robert Flaherty's 1922 Nanook of the North, the first full-length documentary film; the Inuk performer Tanya Tagaq's 2012 Nanook of the North, in which Tagaq rewrites Flaherty's version by adding a live soundtrack; and Tungijuq, a 2009 film by Félix Lajeunesse and Paul Raphaël in which Tagaq stars and whose screenplay she co-wrote. This essay also performs its reading: Tagaq becomes the theorist who leads us in equal parts through these filmic texts and through the thick, fleshy contexts in which they are embedded. I, neither Inuk nor Qallunaaq, take on a hyperbolized critical distance as a quasi-anthropologist. Qallunaat proclivities are eagerly displayed.
摘要:本文对卡卢纳进行了解读——以白人或非因纽特人的身份进行解读——他们通过两件事进入人们的视野:他们与因纽特人和动物的关系，以及他们对因纽特人与动物关系的反应。除了三部电影文本——尤其是对那些遵循卡卢纳习俗的人来说——似乎是关于因纽特人和因纽特人捕猎和吃海豹的习俗，这篇文章反其有道地把焦点集中在卡卢纳身上:吃和关键距离之间的紧张关系能告诉我们关于卡卢纳宇宙观的什么?我们讨论的三部电影文本是:卡卢纳克电影制作人罗伯特·弗莱厄蒂的《1922年北方的纳努克》，这是第一部完整的纪录片;因努克表演者塔尼亚·塔格(Tanya Tagaq) 2012年的《北方的纳努克》(Nanook of the North)，塔格在其中改写了弗莱厄蒂的版本，加入了现场配乐;还有2009年由f里斯·拉杰内斯和保罗·Raphaël主演的电影《通吉居》，塔格格参与编剧。这篇文章也完成了它的阅读:塔格成为了一位理论家，他带领我们在这些电影文本和它们所嵌入的厚重的、肉感的语境中平等地穿行。我既不是因努克人，也不是Qallunaaq人，作为一名准人类学家，我承担了一种夸张的临界距离。Qallunaat的倾向被热切地展示出来。
{"title":"On Eating, Critical Distance, and Qallunaat Cosmology","authors":"Nadia Chana","doi":"10.1353/aq.2023.a898158","DOIUrl":"https://doi.org/10.1353/aq.2023.a898158","url":null,"abstract":"Abstract:This essay produces a reading of Qallunaat—glossed as white people, or sometimes non-Inuit—as they come into view via two things: their relationships with Inuit and with animals, and their reactions to Inuit relationships with animals. Alongside three filmic texts that appear—especially to those who follow Qallunaat conventions—to be about Inuit and Inuit practices of hunting and eating seals, this essay reads against the (perceived) grain to shine the spotlight on Qallunaat: What can the tensions between eating and critical distance tell us about Qallunaat cosmology? The three filmic texts in question are the Qallunaaq filmmaker Robert Flaherty's 1922 Nanook of the North, the first full-length documentary film; the Inuk performer Tanya Tagaq's 2012 Nanook of the North, in which Tagaq rewrites Flaherty's version by adding a live soundtrack; and Tungijuq, a 2009 film by Félix Lajeunesse and Paul Raphaël in which Tagaq stars and whose screenplay she co-wrote. This essay also performs its reading: Tagaq becomes the theorist who leads us in equal parts through these filmic texts and through the thick, fleshy contexts in which they are embedded. I, neither Inuk nor Qallunaaq, take on a hyperbolized critical distance as a quasi-anthropologist. Qallunaat proclivities are eagerly displayed.","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"75 1","pages":"229 - 250"},"PeriodicalIF":0.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47007461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making History, Making Worlds","authors":"Robin D. G. Kelley","doi":"10.1353/aq.2023.a898167","DOIUrl":"https://doi.org/10.1353/aq.2023.a898167","url":null,"abstract":"","PeriodicalId":51543,"journal":{"name":"AMERICAN QUARTERLY","volume":"75 1","pages":"383 - 390"},"PeriodicalIF":0.7,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48948818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：