An ethic of hospitality thrums through Kathleen Stewart's deeds and works, built in bits by listening close, right there and then: tuning in as method. This piece is part of a special section of “hundreds” for Stewart.
An ethic of hospitality thrums through Kathleen Stewart's deeds and works, built in bits by listening close, right there and then: tuning in as method. This piece is part of a special section of “hundreds” for Stewart.
In this “hundreds” honoring Kathleen Stewart, I tell a story about an Inuit hunter and his love for dogs.
This piece is part of a special section of “hundreds” for Kathleen Stewart.
In this “hundreds” in honor of Kathleen Stewart, we channel her work on ordinary affects. In the form of a refracted dialogue, we make indirect references to Kathleen Stewart, Lauren Berlant, Sigmund Freud, Donald Winnicott, Gilles Deleuze, and Felix Guattari to evoke the vital and deadly repetitions that sustain the re/production of coupled forms of life.
This essay places Srila Roy's recently published Changing the Subject in dialogue with my book Worlding Postcolonial Sexualities, studying Southern feminist and queer activism to reveal solidarities and dissensions contributing to new world-making forms. My focus is on the first section of Changing the Subject, where Roy describes her research with Sappho for Equality (SFE) to map a queer feminism—one I describe as atrangik narivad in Hindi—characterized by three specific shifts: from physical (community center, organization offices, homes) to virtual spaces; from lesbian to trans concerns; and from activism to consumption. The essay concludes with some observations and queries about feminist, queer pedagogy in connection with Roy's students in South Africa and mine in North America and India.
How can one conceptualize change in societies? What do ethnographies reveal about societies in transition? In elucidating what societal changes entail, this article discusses ethnographies that focus on “societies in transition.” An ethnography that deals with changes in and of society also analyzes people's experiences in a rapidly changing society. In addition to giving analytical perspectives on a region—in this case, gendered ideas and practices in Bangladesh—such ethnographies may guide us to opening new social realities. Hence, ethnographies can reveal the potentialities and temporalities of social systems. Additionally, containing the possibilities of an otherwise within itself, ethnographies reflect critiques of established concepts. Thus, one gets glimpses of the continual becoming of the social rather than seeing it as a bounded system.
This essay reviews Srila Roy's (2022) Changing the Subject. It notes the multiple dimensions along which she articulates feminist and queer politics in two organizations in West Bengal, India, including scale, space, and generation. Feminism and queer politics are co-constituted from the Global South, across rural and urban relations, and through older and younger generations of activism. By examining two sites of the constitution of feminist and queer politics, she shows how “queer feminist governmentalities” and processes of subjectification emerge and entangle in different ways. The review goes on to ask several questions about understandings of the political. Finally, I engage her conclusions around critique as care. Roy's book offers a rich ethnographic contribution to debates over politics in neoliberal times.
This piece was written as part of a series of “hundreds” in honor of Katie Stewart. It offers a condensed reflection on what Katie's work taught me about the importance of the fleeting and ephemeral in the constitution of social worlds.
This flash essay introduces a special section on flash ethnography. We consider how and why this genre has emerged as a vital intervention for ethnographic practice and theoretical storytelling. We invite questions about the value, methods, and scope of this form—a move toward un-disciplining our writing and offering new ways of thinking about ethnographic wholes.
This composition is part of a special section of one-hundred-word pieces celebrating the inspiration of Katie Stewart. It juxtaposes brief vignettes from early fieldwork on a Mediterranean island.
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