Pub Date : 2021-06-01DOI: 10.1080/2373566X.2021.1927795
I. Marković
Sometime before the Great War, somewhere in England, a woman in a green silk kimono locks the door of her room and lights a gold-tipped cigarette. This simple act, and the memory of it traced in the archive, will be explored and used as a route into narrating a sensory history of the smoking suit from its use as a masculine garment designed to obviate putrid tobacco smells to its eventual adoption as a feminine object of high fashion. Drawing on a wide range of primary sources, from newspaper and magazine articles to etiquette books, advice manuals, fashion plates, and trade journals, the paper examines the representations of the smoking suit from the mid-nineteenth to the early twentieth century and the role it was ascribed in the constitution of gendered smoking spaces. By weaving through the textures, smells, flavors and places associated with it, the paper attempts to tease out the sensory, affective and embodied micro-politics of wearing as this plush item of smoking fashion moves from the private space of the home, to the public spaces of the fashion show. The paper concludes by arguing for the importance of taking seriously the multisensory, everyday geographies of fashion, and their capacity to both perpetuate and disrupt wider relationships of power.
{"title":"Fashioning Smoking Space: A Sensory Historical Geography of the Smoking Suit from Olfactory Barrier to Dernier Cri","authors":"I. Marković","doi":"10.1080/2373566X.2021.1927795","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1927795","url":null,"abstract":"Sometime before the Great War, somewhere in England, a woman in a green silk kimono locks the door of her room and lights a gold-tipped cigarette. This simple act, and the memory of it traced in the archive, will be explored and used as a route into narrating a sensory history of the smoking suit from its use as a masculine garment designed to obviate putrid tobacco smells to its eventual adoption as a feminine object of high fashion. Drawing on a wide range of primary sources, from newspaper and magazine articles to etiquette books, advice manuals, fashion plates, and trade journals, the paper examines the representations of the smoking suit from the mid-nineteenth to the early twentieth century and the role it was ascribed in the constitution of gendered smoking spaces. By weaving through the textures, smells, flavors and places associated with it, the paper attempts to tease out the sensory, affective and embodied micro-politics of wearing as this plush item of smoking fashion moves from the private space of the home, to the public spaces of the fashion show. The paper concludes by arguing for the importance of taking seriously the multisensory, everyday geographies of fashion, and their capacity to both perpetuate and disrupt wider relationships of power.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"17 1","pages":"235 - 256"},"PeriodicalIF":0.7,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73784070","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 : 2021-06-01DOI: 10.1080/2373566X.2021.1904789
Merle M Patchett
This paper uses a fashioned ostrich plume to conceptualize and re-present ostrich “feather-work” as being co-constituted by human and non-human labor. The plume archives not only the human hands that fashioned it but also the bird-body that grew the feathers, insisting it be conceptualized and researched as a grown-made commodity. From this starting point, I reconstruct its journey along the “feather-road”: from reared and plucked ostrich on a South African ostrich farm to willowed plume in Euro-American sweatshops. By fleshing-out the “hybrid labor” involved in the plume’s growing and making, I demonstrate that feather-work not only exploited indigenous African, indentured migrant, and sweated immigrant human laborers, but how it yoked the reproductive and metabolic labor of ostriches. By doing so the paper illustrates how this luxury feather-fashion accessory is historically implicated in colonial, economic, and ecological violence, locating the troubling journeys of fashion’s “bio-commodities” further back in time.
{"title":"Feather-Work: A Fashioned Ostrich Plume Embodies Hybrid and Violent Labors of Growing and Making","authors":"Merle M Patchett","doi":"10.1080/2373566X.2021.1904789","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1904789","url":null,"abstract":"This paper uses a fashioned ostrich plume to conceptualize and re-present ostrich “feather-work” as being co-constituted by human and non-human labor. The plume archives not only the human hands that fashioned it but also the bird-body that grew the feathers, insisting it be conceptualized and researched as a grown-made commodity. From this starting point, I reconstruct its journey along the “feather-road”: from reared and plucked ostrich on a South African ostrich farm to willowed plume in Euro-American sweatshops. By fleshing-out the “hybrid labor” involved in the plume’s growing and making, I demonstrate that feather-work not only exploited indigenous African, indentured migrant, and sweated immigrant human laborers, but how it yoked the reproductive and metabolic labor of ostriches. By doing so the paper illustrates how this luxury feather-fashion accessory is historically implicated in colonial, economic, and ecological violence, locating the troubling journeys of fashion’s “bio-commodities” further back in time.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"2 1","pages":"257 - 282"},"PeriodicalIF":0.7,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74402098","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 : 2021-06-01DOI: 10.1080/2373566X.2021.1925138
Merle M Patchett, N. Williams
The papers assembled in this forum examine the Geographies of Fashion and Style through texts, visual images, material objects and processes of growing and making, as lived experiences and performative practices and, crucially, as concepts and practices that travel and mutate over time and place. In this introduction, we chart the Eurocentric cultural episteme of the fashion industry and fashion studies and dismantle it by drawing on, and out, globally-orientated and decentered approaches to the study of fashion and style. Our contribution to debates on fashion and style is to draw out five impulses arising at the intersections of geography and fashion studies and which our collection of papers brings to the fore: Theorizing, Queering, Decolonizing, Ecologizing, and Curating. In doing so, our introduction foregrounds the significance of fashion and style as sites of (micro) political problems and potentials, and is a call and a framework through which to extend and take seriously the diverse processes of fashion and style as sentient to the broader themes and scholarship of concern in the geohumanities.
{"title":"Geographies of Fashion and Style: Setting the Scene","authors":"Merle M Patchett, N. Williams","doi":"10.1080/2373566X.2021.1925138","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1925138","url":null,"abstract":"The papers assembled in this forum examine the Geographies of Fashion and Style through texts, visual images, material objects and processes of growing and making, as lived experiences and performative practices and, crucially, as concepts and practices that travel and mutate over time and place. In this introduction, we chart the Eurocentric cultural episteme of the fashion industry and fashion studies and dismantle it by drawing on, and out, globally-orientated and decentered approaches to the study of fashion and style. Our contribution to debates on fashion and style is to draw out five impulses arising at the intersections of geography and fashion studies and which our collection of papers brings to the fore: Theorizing, Queering, Decolonizing, Ecologizing, and Curating. In doing so, our introduction foregrounds the significance of fashion and style as sites of (micro) political problems and potentials, and is a call and a framework through which to extend and take seriously the diverse processes of fashion and style as sentient to the broader themes and scholarship of concern in the geohumanities.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"8 1","pages":"198 - 216"},"PeriodicalIF":0.7,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82189646","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 : 2021-06-01DOI: 10.1080/2373566X.2021.1923404
L. Denning
This article is a critical reflection upon Interim—a project I undertook at Srishti Institute of Art, Design and Technology in Bangalore. Every year, up to 15 international artists are invited to take undergraduate students through a six week immersive programme, designed by the artists, to a specific theme. I led a particular Interim project through November and December 2018. I consider the projects’ focus, methodologies and impacts. I place the concept of an “ecotone” within the context of a transdisciplinary arts practice, with the aim of opening up the term, and the arts practice, to new understandings that can challenge conventional ways of thinking about people, place and sensation.
{"title":"Ecotone as Methodology","authors":"L. Denning","doi":"10.1080/2373566X.2021.1923404","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1923404","url":null,"abstract":"This article is a critical reflection upon Interim—a project I undertook at Srishti Institute of Art, Design and Technology in Bangalore. Every year, up to 15 international artists are invited to take undergraduate students through a six week immersive programme, designed by the artists, to a specific theme. I led a particular Interim project through November and December 2018. I consider the projects’ focus, methodologies and impacts. I place the concept of an “ecotone” within the context of a transdisciplinary arts practice, with the aim of opening up the term, and the arts practice, to new understandings that can challenge conventional ways of thinking about people, place and sensation.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"21 4 1","pages":"164 - 175"},"PeriodicalIF":0.7,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83236917","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 : 2021-05-20DOI: 10.1080/2373566X.2021.1883992
Stine Simonsen Puri
In the desert area of Rajasthan, people have been betting money on when and how much it will rain during the monsoon for centuries. Despite state investment in forecasting technologies in India, rain bettors do not believe official weather data can predict the precise timing, volume, or location of rain. They instead observe the sky and share real-time information via social networks. Ethnographic research on weather prediction has focused on farmers’ expertise and information relevant for agriculture. Rain betting highlights other monsoon patterns in northwest India, especially sudden shifts in cloud direction and speed. It also foregrounds a creativity around weather uncertainties that, like weather derivatives trading, is about pursuit of profit through active ongoing engagement with weather risks. Rain betting, I argue, is a form of vernacular speculation in futures in an area where people are increasingly giving up farming for more profitable work.
{"title":"Gambling on the Monsoon in the Indian Desert","authors":"Stine Simonsen Puri","doi":"10.1080/2373566X.2021.1883992","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1883992","url":null,"abstract":"In the desert area of Rajasthan, people have been betting money on when and how much it will rain during the monsoon for centuries. Despite state investment in forecasting technologies in India, rain bettors do not believe official weather data can predict the precise timing, volume, or location of rain. They instead observe the sky and share real-time information via social networks. Ethnographic research on weather prediction has focused on farmers’ expertise and information relevant for agriculture. Rain betting highlights other monsoon patterns in northwest India, especially sudden shifts in cloud direction and speed. It also foregrounds a creativity around weather uncertainties that, like weather derivatives trading, is about pursuit of profit through active ongoing engagement with weather risks. Rain betting, I argue, is a form of vernacular speculation in futures in an area where people are increasingly giving up farming for more profitable work.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"7 1","pages":"113 - 130"},"PeriodicalIF":0.7,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86863566","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 : 2021-05-19DOI: 10.1080/2373566X.2021.1877561
N. Earhart
The 1984 documentary Los Sures is a portrait of the poverty-stricken Puerto Rican neighborhood of South Williamsburg, Brooklyn. In 2014, the Brooklyn-based documentary nonprofit UnionDocs re-released this little-seen film, along with a host of new multimedia content. The project, titled Living Los Sures, is alternatively a statement on the neighborhood’s radical transformation and an appeal to a sense of community and continuity. This essay engages the politics and esthetics of such an undertaking through the lens of both documentary-film studies and critical geographic perspectives on gentrification. I argue that while Living Los Sures betrays a flawed liberalism consistent with much documentary filmmaking, it nevertheless offers a unique vantage point onto the spatiotemporal imaginary of the contemporary city. I trace the original film and its re-issue against New York City’s recent history and contend that this project illuminates questions of political solidarity and representation in the neoliberal era.
1984年的纪录片《贫民窟》(Los ures)描绘了波多黎各人在布鲁克林南威廉斯堡(South Williamsburg)的贫困社区。2014年，总部位于布鲁克林的非营利纪录片组织UnionDocs重新发行了这部鲜为人知的电影，同时还发行了一系列新的多媒体内容。该项目名为Living Los ures，是对社区激进转型的一种声明，也是对社区意识和连续性的一种呼吁。这篇文章通过纪录片研究和对中产阶级化的批判性地理视角的镜头，参与了这样一个事业的政治和美学。我认为，虽然《洛杉矶生活》背叛了一种与许多纪录片制作一致的有缺陷的自由主义，但它仍然为当代城市的时空想象提供了一个独特的优势。我追溯了原始电影及其重新发行与纽约市最近的历史，并认为这个项目阐明了新自由主义时代的政治团结和代表性问题。
{"title":"Documenting Urban Change: Gentrification, Representation, and Living Los Sures","authors":"N. Earhart","doi":"10.1080/2373566X.2021.1877561","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1877561","url":null,"abstract":"The 1984 documentary Los Sures is a portrait of the poverty-stricken Puerto Rican neighborhood of South Williamsburg, Brooklyn. In 2014, the Brooklyn-based documentary nonprofit UnionDocs re-released this little-seen film, along with a host of new multimedia content. The project, titled Living Los Sures, is alternatively a statement on the neighborhood’s radical transformation and an appeal to a sense of community and continuity. This essay engages the politics and esthetics of such an undertaking through the lens of both documentary-film studies and critical geographic perspectives on gentrification. I argue that while Living Los Sures betrays a flawed liberalism consistent with much documentary filmmaking, it nevertheless offers a unique vantage point onto the spatiotemporal imaginary of the contemporary city. I trace the original film and its re-issue against New York City’s recent history and contend that this project illuminates questions of political solidarity and representation in the neoliberal era.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"23 1 1","pages":"513 - 528"},"PeriodicalIF":0.7,"publicationDate":"2021-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78483506","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 : 2021-05-19DOI: 10.1080/2373566X.2021.1883455
M. Kelly
Bodies are nuanced, fluid, and political—often combining forms of intersecting and experiential identities. Nevertheless, bodies are frequently missing from maps altogether or, when they are included on maps, they are reduced to points, lines, and polygons. Focusing on iconography, I explore the depiction of bodies in map symbolization through a feminist lens. I apply a feminist semiotic analysis to thirty-eight Maki icons to problematize the ways in which bodies are depicted, abstracted, or erased. I analyze icon symbolization, particularly the presence/absence of bodily forms, the presence/absence of an embodied object, and the icons’ iconicity. My feminist analysis reveals the underlying silences, defaults, and power dynamics within the Maki icon set. I call mapmakers to rethink the depictions of bodies in icons—and the role of “universal” icon sets, more broadly—through a feminist lens. I offer design opportunities as a starting point for such an endeavor.
{"title":"Mapping Bodies, Designing Feminist Icons","authors":"M. Kelly","doi":"10.1080/2373566X.2021.1883455","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1883455","url":null,"abstract":"Bodies are nuanced, fluid, and political—often combining forms of intersecting and experiential identities. Nevertheless, bodies are frequently missing from maps altogether or, when they are included on maps, they are reduced to points, lines, and polygons. Focusing on iconography, I explore the depiction of bodies in map symbolization through a feminist lens. I apply a feminist semiotic analysis to thirty-eight Maki icons to problematize the ways in which bodies are depicted, abstracted, or erased. I analyze icon symbolization, particularly the presence/absence of bodily forms, the presence/absence of an embodied object, and the icons’ iconicity. My feminist analysis reveals the underlying silences, defaults, and power dynamics within the Maki icon set. I call mapmakers to rethink the depictions of bodies in icons—and the role of “universal” icon sets, more broadly—through a feminist lens. I offer design opportunities as a starting point for such an endeavor.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"20 1","pages":"529 - 557"},"PeriodicalIF":0.7,"publicationDate":"2021-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81686719","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 : 2021-05-14DOI: 10.1080/2373566X.2021.1898287
M. Gandy
Filmmaking has become an increasing focus of interest within geography, the geohumanities, and related fields. The use of film ranges from enhanced forms of ethnographic fieldwork to the production of feature-length documentaries shown at international festivals. The making of documentaries has become an increasingly significant research method in itself that has the potential to become a widely recognized type of interdisciplinary research output. How should we interpret the role of film in relation to wider epistemological debates over the production of knowledge? How can we contextualize the methodological turn toward film within the broader historiography of filmmaking and the cinematic apparatus? This article argues that documentary film has a distinctive role to play in expanding the research imagination, enhancing pedagogic practice, reaching new audiences, and producing unique cultural artifacts. At the same time, however, the use of film is also entrained in complex debates concerning the verisimilitude of representational practices and the wider institutional context for the production and evaluation of knowledge.
{"title":"Film as Method in the Geohumanities","authors":"M. Gandy","doi":"10.1080/2373566X.2021.1898287","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1898287","url":null,"abstract":"Filmmaking has become an increasing focus of interest within geography, the geohumanities, and related fields. The use of film ranges from enhanced forms of ethnographic fieldwork to the production of feature-length documentaries shown at international festivals. The making of documentaries has become an increasingly significant research method in itself that has the potential to become a widely recognized type of interdisciplinary research output. How should we interpret the role of film in relation to wider epistemological debates over the production of knowledge? How can we contextualize the methodological turn toward film within the broader historiography of filmmaking and the cinematic apparatus? This article argues that documentary film has a distinctive role to play in expanding the research imagination, enhancing pedagogic practice, reaching new audiences, and producing unique cultural artifacts. At the same time, however, the use of film is also entrained in complex debates concerning the verisimilitude of representational practices and the wider institutional context for the production and evaluation of knowledge.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"9 1","pages":"605 - 624"},"PeriodicalIF":0.7,"publicationDate":"2021-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91348700","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 : 2021-05-13DOI: 10.1080/2373566X.2021.1886863
Jacqueline Bowring
Roden Crater, Arizona, engages with the phenomenology of light and the celestial sphere. Because such phenomena elude capture by photography, first-hand experience is necessary. However, the project will not be open to the public for years, as artist James Turrell wants to first achieve an overall sense of completion. As a geographer and landscape architect, my fascination with phenomenology and in particular with Roden Crater grew into a series of experiments at a domestic scale, to explore the potential for generating parallel experiences. This paper documents the practice of making 1:1 scale experiments that are based on Roden Crater, and the ways in which phenomena can be amplified and experienced. The experiments transformed my sensation of the sky and the perception of being on a moving planet, acts of defamiliarization and strangemaking that intensify our seeing of place
{"title":"Roden Crater: Home Edition","authors":"Jacqueline Bowring","doi":"10.1080/2373566X.2021.1886863","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1886863","url":null,"abstract":"Roden Crater, Arizona, engages with the phenomenology of light and the celestial sphere. Because such phenomena elude capture by photography, first-hand experience is necessary. However, the project will not be open to the public for years, as artist James Turrell wants to first achieve an overall sense of completion. As a geographer and landscape architect, my fascination with phenomenology and in particular with Roden Crater grew into a series of experiments at a domestic scale, to explore the potential for generating parallel experiences. This paper documents the practice of making 1:1 scale experiments that are based on Roden Crater, and the ways in which phenomena can be amplified and experienced. The experiments transformed my sensation of the sky and the perception of being on a moving planet, acts of defamiliarization and strangemaking that intensify our seeing of place","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"15 1","pages":"643 - 646"},"PeriodicalIF":0.7,"publicationDate":"2021-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72965482","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 : 2021-03-08DOI: 10.1080/2373566X.2020.1852881
Sage Brice
The lived experiences of gender transition highlight tensions between new and traditional western conceptions of gender and identity, and afford an intimate and unusually broad insight into the mechanisms through which subjectification is gendered and gender subjectivised through daily practices of fashion and style. This experimental, practice-based contribution makes playful and subversive use of a fashion activity book intended for young women and girls to document the author’s experiences of gender transition, taking as its cue the notion that the challenges and joys of transition in many ways resemble a form of second adolescence. It draws on an extended ethnographic engagement with gendered social space to explore how we might rethink the question of subjectification in fashion and style as a fundamentally distributed and yet intensely personal social process. The accompanying text maps out some of the project’s theoretical impetuses, methodological affordances, and onto-political implications.
{"title":"Trans Subjectifications: Drawing an (Im)personal Politics of Gender, Fashion, and Style","authors":"Sage Brice","doi":"10.1080/2373566X.2020.1852881","DOIUrl":"https://doi.org/10.1080/2373566X.2020.1852881","url":null,"abstract":"The lived experiences of gender transition highlight tensions between new and traditional western conceptions of gender and identity, and afford an intimate and unusually broad insight into the mechanisms through which subjectification is gendered and gender subjectivised through daily practices of fashion and style. This experimental, practice-based contribution makes playful and subversive use of a fashion activity book intended for young women and girls to document the author’s experiences of gender transition, taking as its cue the notion that the challenges and joys of transition in many ways resemble a form of second adolescence. It draws on an extended ethnographic engagement with gendered social space to explore how we might rethink the question of subjectification in fashion and style as a fundamentally distributed and yet intensely personal social process. The accompanying text maps out some of the project’s theoretical impetuses, methodological affordances, and onto-political implications.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":"100 1","pages":"301 - 327"},"PeriodicalIF":0.7,"publicationDate":"2021-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77108110","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}
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：