Showing posts with label feminism. Show all posts
Showing posts with label feminism. Show all posts

Sunday, December 2, 2012

"immense fan energy unleashed"

Hypable, which launched last year, is aimed at a Harry Potter-like audience of tweens, teens and young adults, mostly female. That means lots of coverage of the "Twilight" series and "The Hunger Games" and less emphasis on, say, "Star Wars," which Sims said attracts an older male audience.

[Professor Karen] North, at USC, said entertainment companies are similarly scrambling to harness the immense fan energy unleashed by sites such as Mugglenet.

Two things. First, the above-quoted article on fan labor in the Orange County Register is by Jim Hinch, who is also the author of the amazing pan of Stephen Greenblatt's The Swerve in LA Review of Books that's been going around.

Second, and the reason I'm posting: it's not quite clear whose language this is—Hinch's or North's—but it seems telling that fan labor is imagined as a sort of natural resource, whose "energy" is "unleashed" by fan sites and can be "harnessed" (read: profited on) by the entertainment industry. Of course this is labor that is being appropriated. What's interesting about the language through which it is understood, here, is that it so explicitly routes that appropriation through an identification of (primarily young female) labor with natural resources, imagined as free for the taking. This usually doesn't end well.

(On fan labor, I highly recommend Abigail De Kosnik's essay in Digital Labor: The Internet as Factory and Playground.)

Wednesday, September 19, 2012

Arrived today in the mail: volume 1 of LIES: A Journal of Materialist Feminism. Get your own.

(Also arrived in today's mail: a Comcast bill. You win some, you lose some.)

Tuesday, April 10, 2012

If some poetry boys exhibit pack behavior, so what?

—Johanna Drucker, "Politics of It All?, The," The noulipian Analects, ed. Wertheimer and Viegener

Friday, February 17, 2012

Three days a week I get to talk with undergrads about feminism and robots. I love my life.

Excellent story of the day: a student's baby brother started picking up words from a Furby.

Thursday, February 16, 2012

Have you any notion how many books are written about women in the course of one year? Have you any notion how many are written by men? [...] Sex and its nature might well attract doctors and biologists; but what was surprising and difficult of explanation was the fact that sex—woman, that is to say—also attracts agreeable essayists, light-fingered novelists, young men who have taken the M.A. degree; men who have taken no degree; men who have no apparent qualification save that they are not women.

—Virginia Woolf, A Room of One's Own, 1929

Saturday, December 10, 2011

Of all the Ryan Gosling Tumblrs (shout-out to medieval history), Feminist Ryan Gosling is still the funniest and best.

Friday, September 23, 2011

Saying hey

Via Ben Friedlander on Twitter, I was recently treated to Anne Boyer's "Damnatio Memoriae." Please read it--it's short and brilliant.

As Miriam Posner points out, it's oddly moving, not in spite of its repetition of the hilariously banal phrase "saying hey," but because of it. It serves as a subversively anti-dramatic counterpoint to the question, "Can the subaltern speak?" After all, here they are, saying hey. Only they're saying hey across the centuries, across the continents, "across deep time." These mysteries of the low register are the genius of flarf and the reason it's poetry, even if it's irritating poetry. Why does lameness sometimes flare out in the form of awesomeness?

[Better than Storify? Worse? I sometimes think Twitter conversations amount to more than the sum of their parts, but it can be difficult to render them usefully on a blog.]

Sunday, September 4, 2011

Modern Female Automatisms

I'm not teaching this semester, but my book list for next semester is due exceedingly soon. I think it'll have to be one of those late-nite activities, since looking up ISBNs doesn't take a lot of brain. ("Night," when preceded by "late-," is properly spelled "nite." True facts.)

I've done a poor job of articulating the course's interest and importance of late, mostly because I haven't been in the teaching zone, but it's about gender and the discourses of automatism circa 1900, and is in some degree related to the talk I'll be giving at MSA next month on Stein and repetition. Repetition structures normality and (as a "compulsion") pathology, habit and obsession; it's evidence of mechanicity and, in its ability to provoke laughter, also a site of evidence of the human. Butler brilliantly makes repetition the scene of gender.

We'll read/watch some of the classic Lady Robots texts of the Gilded Age and early C20—L'Ève future, Metropolis, "In the Cage," "Melanctha." We'll also look at some contemporary nonfiction theories of mechanicity and gender, like Otto Weininger's theory of variability, the biometrics of Lombroso and Berthillon, and of course Freud, contextualizing them in more recent work by Haraway, Oreskes, Kittler, Hayles, and Fleissner. I had sort of a lovely (that is, entertaining) Twitter conversation with Chris Forster, Jentery Sayers, and Stephen Ross (probably among others) a week or two ago about modernist humor and the role of gender in Michael North's Machine-Age Comedy, which is one of the problems I intend for the class to investigate.

Roughly, the course will use the rubric of "automatism" to look at female labor; the gendering of humor; affect and the human; objectivity and knowledge; psychopathology c. 1900; and biological determinisms.

Needless to say, I'm still in that grandiose, overly ambitious phase of syllabus-planning. I haven't done all the necessary cutting down, which will have to happen soon. I'm also contemplating some sort of introspective exercise (observing one's repetitions, or the like) that I haven't quite worked out yet. Suggestions welcome.

Sunday, June 26, 2011

Such a doll

Everyone knows that Teen Talk Barbie never said, "Math is hard; let's go shopping!" It caught on nonetheless; there was something about the phrase that made people think that, yes, this is just what a talking Barbie would say.

Speech is one of those things that is supposed to set "the human" apart from "the inhuman," as what Anca Parvulescu describes as "one in a series of properties invoked as [the] minimal difference, a catalog that offers something to hold on to whenever the human risks contamination with the nonhuman" (4).* Animated dolls occupy a special place in western lore as objects that particularly challenge that distinction, though these minimal differences like (realistic) speech and (real) laughter are sticking points where the distinction is nonetheless upheld.

Still, dolls and automata are powerful figures for women in particular, or rather, the distinction between a woman and a doll has frequently seemed to be particularly easy to erase, from Galatea to Coppélia to the aestheticized-into-objecthood daughter Pansy in The Portrait of a Lady. Michael Taussig notes of a collection of eighteenth-century automata that the figures represented include "everything but the white male. There are negroes in top hats and tight breeches, the 'upside-down world clock' with a monkey playing the drum, ... and women—especially women" (213-4).

Women's propensity to be confused with dolls, and the triumph of artificiality in that confusion, is perhaps one of the sources of anxiety that has long surrounded the Barbie doll in particular as an "unrealistic model" for girls. Barbie's nonhuman appearance—her slender foot perpetually extended for the high-heeled glass slipper that would make of her a princess—registers not as uncanny but as ideal.

The talking Barbie's speech is therefore the place where the inanimate doll gets a chance to seem more "lifelike," and, by the same stroke, the place where it is feared that her "lifelike" quality will reveal the lifelike dimension itself (what women are "really like") to be, in essence, no more than the mechanical, unthinking doll with which women are so often conflated.

Enter "Math is hard; let's go shopping!" As Benjamin Zimmer documents in the LL post linked above, "math is hard; let's go shopping!" is an abbreviated pairing of two real phrases that Teen Talk Barbie originally played,"Math class is tough" and "Want to go shopping? Okay, meet me at the mall." The urban legend version stages an exchange; the newly more-lifelike (talking) Barbie eschews "hard," intellectually challenging math in favor of (pleasurable?) shopping.

The two things are of course gender-coded. But more importantly, they're gender-coded on precisely the grounds on which women are confused with dolls. The math signifies intellectual activity, which Teen Talk Barbie legendarily renounces because it is "hard"; at stake here is not only intellect but volition, the will to take on what is difficult and to engage in ("hard") work. At stake is the possibility of being all there. Teen Talk Barbie doesn't have it, of course. But it is perfectly believable that she can engage in shopping, which Rachel Bowlby has described as, at least in certain versions, a fully automatized leisure activity. The female shopper, as figured in the late nineteenth century, is devoid of volition and powerless before the commodity, seized by an insatiable desire not genuinely her own. (The classic portrayal is in Zola's novel Au Bonheur des dames.)** She is rendered an automaton before the bargain table.

For the patently unrealistic yet more-real-than-real-women Barbie to come alive by saying "Math is hard; let's go shopping!" is thus a bigger betrayal than just the usual reinforcement of gender stereotypes around STEM fields. The whole point of automata is for them to become self-aware, rise up, and shake off their oppressors (us). The betrayal of Teen Talk Barbie, succinctly rendered as "Math is hard; let's go shopping!," is that she uses her moment of speech not to become self-aware and subvert the inhuman decorativeness for which she was designed, but rather to reject cognition and embrace the doll-like automatism that is already attributed to real women. That is: inhuman Barbie is representative of real women, more representative than the real women are, and what she "says" goes.

The above image is a Creative Commons licensed Flickr image. The photographer's caption reproaches Barbie for, well, being a doll: "empty-headed." Tellingly, the sole comment to date reads, "i've met women with a gaze like that... scary indeed."
Whatever women may do to protest the untruths of Barbie is moot whenever Barbie, and dolls in general, are already posited as the truth of women.


* Parvulescu is alluding to laughter in this description--laughter being another candidate for that minimal difference.

** There is also a twentieth-century "savvy" female shopper—the two kinds of shopper always exist in tension, as Bowlby explains. Judging from ads, the volitionless shopper seems to buy chocolate and desserts, while the wily shopper buys cleaning supplies.

See also the "X is hard" Snowclones Database entry.

Bowlby, Rachel. Carried Away: The Invention of Modern Shopping. New York: Columbia UP, 2001. Print.

Parvulescu, Anca. Laughter: Notes on a Passion. Cambridge: MITP 2010. Print.

Taussig, Michael. Mimesis and Alterity: A Particular History of the Senses. New York: Routledge, 1993. Print.

Image: Barbie. Pete Lounsbury, 2004. CC BY-NC-SA 2.0.


Wednesday, June 8, 2011

Sentimental Spaces

“And what a quantity of animal beings there are in the being of a man!”

     — Gaston Bachelard, The Poetics of Space
My essay "Sentimental Spaces: On Mei-mei Berssenbrugge's Nest" is now up at at Jacket2.

One of the many nice things about Jacket2 is that it's fully online and open access. There are some drawbacks to this, of course: in MS the article is about 27 pages, which makes the lack of pagination in the online version perhaps a little heartwrenching. But the trade-off is that you don't need a library subscription to read it. (I'd be happy to send a pdf to anyone who really feels that the pagination issue is beyond the pale.)

Many thanks to the great Julia Bloch for the opportunity, and for the patient editing.

Monday, May 16, 2011

Railsbridge workshops

I've been meaning to mention for a while that earlier this month I attended a free Ruby on Rails outreach workshop for women in San Francisco, run by volunteers from the SF Ruby community and funded in part by Railsbridge.

It was well planned, informative, and (did I mention?) free. Plus, feminist! I think I may not have been in quite the right class for what I wanted to learn, but that was my fault and not theirs. I think it will be a long time before I develop any meaningful competency with Ruby on Rails, mostly because after research, teaching, and (sweet FSM) moving, I don't have a lot of time to devote to dicking around with web apps, which is really what I need if I want to learn anything. Still, I hope to try and keep up over the summer, and perhaps try to connect with the Ruby community in Atlanta as well.

I attended my last Saxon Circle meeting last week (we're still in the middle of Andreas, and as usual I have no idea what the hell is going on...God is dressed as a sailor?). It gave me a reason to reflect that, as terrible as my Old English is, it would be even worse if I hadn't been doing a tiny bit of (error-ridden) translating each month for the last eight years.

Practice, man.

Anyway, the point is: if you're a woman in the Bay Area and are interested in learning Ruby on Rails, head over to the SF Ruby group. I think I was your typical cranky, resistant student ("IT'S NOT WORKING. WHY ISN'T IT WORKING.") and they were still super great to me.

Saturday, May 14, 2011

Telephone; or, Some thoughts on publicness

Please note that my office telephone has been disconnected due to budget cuts implemented by the state of California.

    --Professor Ian Duncan's email signature file

Call all you want, but there's no one home

And you're not going to reach my telephone.

    --Lady Gaga


There's a Telephone-like quality to news of the effects of the statewide California budget cuts on individual UC campuses, departments, and programs. You remember the game from early childhood--you pass a message around the room, whispering from ear to ear, and then giggle at the end when the original message is juxtaposed with what the last person finally heard.

This is partly because it is genuinely difficult to understand the distribution and effects of budget cuts (why were East Asian language courses radically cut just when a new East Asian library building was going up? an observer might, with fairness, ask).

But it's also because it's difficult to get an official account from anybody. With budget cuts comes a stigma, and therefore a dilemma. It is difficult to fight budget cuts without clearly representing how badly they damage the department and the university. But as soon as a department or a campus admits to having been hurt by cuts, it faces a loss of prestige and a concomitant flight of talent. Part of the damage that the budget cuts inflict comes from anybody knowing about the damage--or thinking they know.

The result is a mixture of genuine confusion and official obfuscation, in which information flows primarily through rumor and statistics--the latter to be understood as the superlative successor to Mark Twain's "lies" and "damned lies."

And that's how the UC budget cuts' effects on my department came to be emblematized, through a Telephone-like process, by telephones.

It's well known by now that English faculty at Berkeley no longer have office phones. Ian Duncan (to his credit, in my opinion) said so in his email signature file for about a year. Evidently there are members of UC administration who consider us a "bad" department for having let on about this fact. Anecdotally, I hear it's whispered among (and sometimes, by competing departments, to) prospective graduate students that our lack of phones is an emblem of how terrible the cuts have been for us.

Well, it is--an emblem, that is. But surely we English scholars can think a bit critically about just how that emblem signifies.

William Deresiewicz's recent, much-circulated, and rather good article in The Nation casually dropped the following statement: "Stipends are so low at the University of California, Berkeley, the third-ranked research institution on the planet, that the school is having trouble attracting graduate students."

I can't speak for other departments at Cal, but I know that the statement is not true for English--at least not this year. It's not that graduate stipends aren't low (they're graduate stipends; they're low by definition), and in fact we also had unusually low yield this year. But informal surveys (rumors, rumors) suggest that our peer departments did too.

So while it's tempting to make a causal narrative out of it, as Deresiewicz does, in this case the narrative seems unsupported by the evidence.

In fact, graduate stipends in Berkeley's English department are commensurate with those offered at much wealthier peer institutions. For instance, although we joke about our transbay colleagues at Stanford ("You get a car! You get a car! Everybody gets a car!"), the truth is that their fellowships ^for incoming students as of this year^* don't materially exceed ours. It's perhaps a little janky that our fellowship packages are often cobbled together piecemeal due to the bureaucratic idiosyncrasies and, yes, economic constraints, of being at a public university. But that's always been true of Cal.

Here's the thing about the phones: they're symbolic, in more ways than one. Part of the reason they seem like such a basic infrastructural need is that they're such an old infrastructural need. In point of fact, they don't get a lot of use, and are a low priority--that's why getting rid of phones was a very reasonable response to budget cuts. The Wesleyan historian Claire Potter, who blogs as Tenured Radical, recently wrote, "Take my phone. Please." After all,
By doing this, you could free up some money in our zero-sum budget game to reduce the cost of my benefits or bump up my research money. Or give me a tiny bonus to subsidize my cell phone costs. Or keep the money and allow me to deduct the cost of my mobile from my taxes as a legitimate business expense. And it would clear a lovely space on my desk where I could put a vase of spring flowers -- or a box of Kleenex, to prepare for the next round of budget cuts.

She's alluding to budget cuts at a private university, by the way.

Sure, it's pretty bootleg that we can't afford phones, and if you have enough bootleg working conditions it becomes a serious problem. If anyone from the state legislature is reading this: THIS NO PHONES SITUATION IS COMPLETELY BOOTLEG. But in and of themselves, office land-lines are not indispensable for teaching or research. In contrast, graduate fellowships are, increasingly, indispensable. So yeah, there's no phone on my desk, but our entire incoming graduate cohort--of modest size, for us, but nonetheless bigger than the incoming cohorts of our peer departments--is funded, because people in the department worked to make it happen. It's about telephones, and it isn't.

A department's reputation is as fragile as a lady's, and as easily damaged by rumors, whether accurate or not. Much ado about nothing can still make young Claudios considering graduate study wary of committing to a Hero who seems less than virtuous solvent.

But the aptness of the analogy should make us pause over how we are tempted to react to rumor. Ought we try to hide the damage the budget cuts inflict, as if defending our maidenly virtue?

I'm inclined to agree with the aptly named, clear-sighted Krystal Ball, the 2010 congressional candidate who refused to be intimidated when opponents challenged her virtue by circulating sexual photos of her on the internet. Instead of trying to suppress the photos, she challenged the premise on which they were meant to discredit her--what she correctly identified as "the tactic of making female politicians into whores," as if the unseemliness of being both a woman and public made her (tautologically) unfit for public office.

After all, what do the rumors say? That UC is struggling economically?

Shocking.

Let's re-examine the premise that the cuts that we are continually fighting are some kind of embarrassment for the department.

Berkeley English is and has been great, but it was never because it was rolling in cash. We've always been public.

To suppose that Cal's vulnerability to cuts is embarrassing--to whisper, Telephone-style, about our telephones--is, fundamentally, to think that our publicness is embarrassing. It's worth noticing that that's a political premise. Like a woman running for public office, or the rumors themselves, we do a little too much circulating for comfort, it seems.

What has happened to our national discourse when the idea of a truly great public university seems an oxymoron? Not to put too fine a point on it: if you think Berkeley's publicness is an intellectual liability, then you are part of the problem--the national problem of that perverse and pervasive neoliberal reflex, not "always historicize" but "always privatize." By the same tautology as that applied to women running for office, the very fact that we're public is assumed to be a disqualification for serving the public. Always privatize.

The Berkeley English department challenges that premise. Cal's publicness is part of its greatness, across the university and within the English department. There were UC-wide faculty and staff furloughs last year; it was the faculty that pushed for a graduated scale that would at least partially protect lower-earning university employees from the full force of the impact--an improvement on the blunt two-tiered model first proposed by university administration. And I've repeatedly seen Berkeley faculty stand up for the labor rights of graduate instructors and of non-academic staff. Our graduate students--and our postdocs--are unionized. Are yours? Or have your tenured faculty persuaded themselves that graduate instructors are "apprentices"?

People don't come here for the money--you couldn't, really. It's an exciting place to be, partly because, frankly, we can't just buy famous scholars (ten years after they've made their marks on the field)--we have to cultivate them ourselves. Our undergraduates, largely products of the California public K-12 system, are often less polished than those at private institutions, but they're also creative and diverse and ferociously intelligent. Some of our best are community college transfers--mature, curious students who really know what they want out of an education.

Economic scarcity makes some things difficult at Cal: that's a fact. We can ill afford further cuts. I'm furious at public disinvestment in higher education, and I fear that recent drastic tuition hikes will forever alter the quality of our wonderful student body. Also, whoever it was who floated that online course evaluations idea: total fail.

But we know how to make the best of what we have, to protect the least secure among us, and to advocate for humanities research and teaching. We do it damn well, all while producing some of the best research and best-trained students in the country.

No need to whisper. No need at all.

[UPDATE: Dean Andrew Szeri's response to Deresiewicz (scroll down)]


*clarification added 5/14, in a characteristically slimy way.

Goble, Mark. "Cameo Appearances; or, When Gertrude Stein Checks into Grand Hotel." MLQ 62.2 (2001): 117-63 [pdf].

Halberstam, Jack. "You Cannot Gaga Gaga"

Friday, April 22, 2011

The Flapper [serial]. Chicago: Flapper Pub. Co., 1922. E Pam #7092, v.1 no.4 Library has: v.1 no.1, 3-4, 6-7.

"What the FLAPPER stands for: short skirts, rolled sox, bobbed hair, powder and rouge, no corsets, one-piece bathing suits, deportation of reformers, non-enforcement of Blue Laws, no censorship of movies, stage or the press, vacations with full pay, no chaperons, attractive clothes, the inalienable right to make dates, good times, [and] honor between both sexes." F, N, P, PA
There are few things as delightful as a good women's history collection.

Wednesday, April 20, 2011

How Public Like a Frog

Over at the Arcade Editors' Blog, I've just posted some more of my usual ramblings about academic blogging. I may enlarge on the issues raised in the final paragraph at a later date, since they relate to teaching and some particular problems I want to solve.

Friday, April 8, 2011

I'll dig with it?

I already mentioned it on Twitter, but I'd just like to make another plug for Bethany Nowviskie's great post on data mining and gender, "What Do Girls Dig?"

I was actually slightly shocked to see the estimable Brett Bobley tweet that the organizers of Digging into Data had noticed the gender imbalance (of two women out of a total of thirty-three speakers!) and were scratching their heads over it.

Really? Not that keeping track of these things is Brett's full-time job, but didn't we just have this conversation about the VIDA stats? Aren't there standard, time-tested answers to these questions of which all people who care about equity are aware? Maybe I'm projecting, but I felt as though the many responses Brett received on Twitter included a strong subtext of "duh"--and rightly.

Tanya Clement's comment that highly educated, capable women often play important but disempowered roles in DH projects is spot on; as Brett writes, "The speakers are the project PIs." No kidding! As Katha Pollitt recently wrote in response to the VIDA stats (you know, that conversation we just had), "Women are often managing editors, a position with lots of work and not much power."

There are a lot of factors that contribute to these circumstances, as Bethany notes:
I'm sure that gender imbalance in this area has little to do with the "Digging into Data" process and more with broader issues, going all the way back (yes, that chestnut) to STEM education for girls in the public schools -- but mostly, I suspect, it is about the number of female academics both qualified and inclined to do this work, and who find themselves both at a stage of their careers and possessed of adequate collaborative networks to support their applications for such grants.

But to me, her most interesting observation was about the gendered language with which data-mining itself is often presented.
Although it wasn't really what I was going for, I respect my pals' advocacy, highlighted above, for funders' launching of an aggressive campaign to identify and mentor more women applicants for the "Digging into Data" program. And clearly there's institutional work to be done on the level of our schools, colleges, and universities. But personally, I feel less strongly about both of those things than I do about the need for the whole DH community to be as thoughtful as possible about the way we describe this kind of work -- the language we use.

I've heard three kinds of responses from female colleagues and students about the "Digging into Data Challenge." One (the rarest) is simple enthusiasm -- though it's interesting that presumably few women applied and none of their projects were compelling enough to fund. Another is trepidation: "Is this too hard-core? Involving too much math or statistical analysis I never learned? Do I understand the scholarly possibilities and have the support network I'd need?" In other words: this is a challenge. Am I competitive? (in every sense of that word).
As Micah Vandegrift commented on the post, "mining" is very much a gendered occupation! Add in the fact that the "digging into data challenge" sounds like some kind of extreme sport and you have a very odd rhetoric for scholarship.

The title of this post is of course a reference to Seamus Heaney's ode to masculine labor, "Digging." (Yes, I was forced to study this poem in high school. Mr. Lilley, you were cool, but no love for this one.)

The poem's speaker contemplates the pen that "rests[] snug as a gun" in his hand, contrasting it with the spades that his father and grandfather wielded in their work. There's a moment of anxiety as the speaker realizes, "I’ve no spade to follow men like them," before remembering that he has his pen. "I'll dig with it."

If you think you can hear Sandra Gilbert and Susan Gubar gently inquiring, "Is the pen a metaphorical penis?," Heaney pretty much hits you over the head with the answer, and, spoiler, it is "yes." The PIs (the speakers, the authors, the creators...) were all male? You don't say.

"By God, the old man could handle a spade./ Just like his old man." Seriously.

I'm on the fence about issuing the standard disclaimer about the good intentions and real efforts of Brett and the NEH to make equity a priority. This is a sort of cop-out solution, with my mini-sort-of-disclaimer here. Of course they are well intentioned and they do make real efforts. The NEH has done a lot to support digital humanities, and I'm thinking of them as the government prepares to shut down. This is not in any sense a personal criticism. But, institutionally speaking, two women speakers out of thirty-three is manifestly absurd, and having no notion about how to address it is also seriously odd. I find it disheartening that these disclaimers are still obligatory, because this is 2011, and we are long past the point where having good intentions but not good results yet is okay.

Tuesday, March 22, 2011

Sigh. Away from the internets for a day and I find that my recent response to Roland was construed exactly backwards by a writer for Eyresses.

Alas, writing is an instance of partible personhood, and folks will construe it as they will. I suppose I could ask that the poster re-read, but it would be hypocritical, I think, to contest her creative reappropriation of my words!

Monday, March 21, 2011

The criticism of enthusiasm

[Update | Greetings, visitors from Eyresses. Thanks for clicking through; I hope you'll read what I've actually written. I'd love it if you also clicked through to Roland Greene's post, to which this is a response.]


* * * * *

This is a response to Roland Greene's post "The Social Role of the Critic," cross-posted from the comment thread at Arcade.

* * * * *

Roland writes:
The fact that so many blogs are produced by enthusiasts is a symptom; critics are not enthusiasts.

This is perhaps the central point that fan studies would contest. One can have reservations about fan studies, but I think there's something to be said for the notion that there can be a meaningfully critical criticism of enthusiasm, what Catharine Stimpson long ago called "reading for love." I've heard Roland argue elsewhere that perhaps close reading ought to be rethought vis-à-vis other modes of critical reading, like translation. I could imagine this argument compassing creative responses of greater or lesser craft as well, as scholars like Julie Levin Russo have suggested, most recently at the Society for Cinema and Media Studies conference a few weeks ago.*

It is probably not an accident that so much of the critical fan culture that inspires so much scorn is driven by women (think Eyresses or Gaga Stigmata). Feminine reading is by definition uncritical reading, as we see in that scene in Nana (1880) in which Nana, mass culture in the flesh, reads a naturalist novel about a character very much like herself and doesn't "get it." But as theorists of children's literature have pointed out, sometimes enthusiasm is only made possible by a radical imaginative rereading--or rewriting--of the text that does indeed tell us something about literature that's different from what literature tells us about itself. To return to Nana, for example, to be a reader gendered "feminine" is to constantly love literature only insofar as one can critically reread or, indeed, rewrite the elements that figure you, the reader, as, oxymoronically, a non-reader, one who is incapable of reading critically or of "getting it."

The question that Arcade itself, with its three rubrics of "Conversations," "Transactions," and "Publications," raises is what an e-journal is besides a blog, and what a blog is besides an e-journal. Is the front page of Arcade simply a continuum from the raw to the cooked? Do these rubrics differ in degree or in kind?

As my colleague Monica Soare has posed the question, what besides gender and class is the difference between the gendered and classed terms of "enthusiasm" and "connoiseurship"?

*Naturally I heard of this through the high-pitched, fluttering, terrifyingly feminine interface with mass culture known as Twitter, where a bad music video performed by a thirteen-year-old girl has been trending for a week, above several quite major news events, largely on the strength of an outpouring of scorn that was, oddly, directed specifically at the female child in question, rather than at any of the many adults actually responsible for the video.

Huyssen, Andreas. After the Great Divide. Bloomington: U of Indiana P, 1983. Print.

Stimpson, Catharine R. "Reading for Love: Canons, Paracanons, and Whistling Jo March." New Literary History 21.4 (Autumn 1990) 957-976. JSTOR. Web. 21 March 2011.

Thursday, March 10, 2011

A guest poster at Hook & Eye makes the case for keeping a list:
Despite the gloom that lurks over making such a list, I urge you to make one of your own. Include dates, times, places, people present, and include whatever evidence you can. Evidence can be documents, photos, emails you sent in regards to an incident, emails about setting a meeting time to talk about a concern, your meeting notes or official meeting minutes. Write a few notes on how incidents and concerns are dealt with. Perhaps a concern was dealt with and the resolution impacted your department for the better. Note that, too.

Hopefully, your list will be nearly empty. Maybe it won't. I'm not suggesting that you make the list to take formal action at the equity office. Just document things as they happen. Maybe you’ll never need to use the list.

Sunday, February 27, 2011

CFP: Automating Love's Labors (MLA 2012, Seattle)

300-word abstracts and brief bios to all.mla2012@gmail.com by March 15, 2011.
“[A] woman stunts her intelligence to become childlike, turns away from individual identity to become an anonymous biological robot in a docile mass. She becomes less than human...”

     —Betty Friedan, The Feminine Mystique

When Adam requires a companion to alleviate his loneliness, God fashions him one out of a spare bone; if Christ, of whom Adam is the prefiguration, is “begotten, not made,” Eve is pointedly the reverse. Thus when Auguste Villiers de l’Isle-Adam envisions an Ève future (1886), it is perhaps no surprise that this ideal helpmeet should be a machine: she perfects the machinic quality of the original Eve. While a prevalent discourse of the machine age marks out the robotic and the automatic as the cold inverse of real human (often female) affection, British and American texts of the modernist period, broadly conceived, stage the robotic and the automatic as inquiries into the relations between modernity, labor, affect, and gender. From L’Ève future and Metropolis to The Feminine Mystique and Valerie Solanas’s SCUM Manifesto, modernist and mid-century narratives have taken up developments such as Christine Frederick’s domestic Taylorism, advertising’s construction of the credulous female shopper, and the advent of domestic appliances. This panel draws on recent work by Michael North, Jennifer L. Fleissner, Bill Brown, Sianne Ngai, and Minsoo Kang, among others, to inquire into the remarkably tight relationship between the always gendered labors of care--what Eva Feder Kittay has called “love’s labor”--and discourses of automatism in industrial and early postindustrial culture, as they are staged in literary and theoretical interventions in the British and American contexts. By giving new historical groundings to fictions and manifestos that examine the profoundly feminized domain of domestic and affective labor between the 1900s and the 1960s, the papers in this panel also hope to attain a stronger purchase on the broader role of “love’s labor” in more recent decades, from the centrality of affective labor in the postindustrial economy (Michael Hardt and Antonio Negri, Arlie Russell Hochschild), to the cultural and political consequences of Donna Haraway’s cyborgs, Cynthia Breazeal’s “Personal Robots” project, and the Roomba. Moreover, we contend that a focus on the literatures of gendered affective labor can renew scholarly understandings of feminist and vernacular modernisms, feminist forms of liberation, literary stagings of labor and repetition, and a feminist ethic of care.

Friday, February 18, 2011

We all saw the numbers put out by VIDA recently. (A propos, here's Pollitt pointedly noticing something about a position I happen to hold.) I would just like to add that Jim Behrle's recent series of profanity-laced attacks on the VIDA-named pubs is hilarious. That is all.