Subjugated Knowledges

Brake, Laurel

doi:10.1007/978-1-349-23322-9

Cited by 267 publications

(3 citation statements)

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“…15 She continues this point, writing, "The field of transgender studies is concerned with anything that disrupts, denaturalizes, rearticulates, and makes visible the normative linkages we generally assume to exist." 16 By reenacting this staged portrait, in which Qiu Jin refused to maintain the "normative linkages" between her body and its gendered signs of femininity, Tsang highlights her contributions to trans history, a perspective that has been overlooked by most canonical readings of her biography.…”

Section: A Trans History Of Qiu Jin In Duilianmentioning

confidence: 99%

Tactics of Virtual Memory and Trans Inscrutability in the Works of Wu Tsang

Kang

2024

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In her art and research, the artist Wu Tsang poses the question: “Whose voices are heard, whose are silenced?” By incorporating her own perspective as a trans person into her works, Tsang utilizes virtual media to reveal alternative interpretations of the past, and in turn, create new trajectories for the future. Her film Duilian specifically rewrites the story of Qiu Jin—a renowned Chinese feminist poet and revolutionary hero of the Qing dynasty—as a trans narrative. Set in a world that blurs global, temporal, and linguistic boundaries, the film merges historical research with imaginative thinking to uncover the trans stories that have been lost or hidden through time. Through an in-depth analysis of Duilian, this article will situate the film within Tsang’s larger oeuvre to demonstrate how the artist embodies Homay King’s concept of “virtual memory” and Vivian L. Huang’s notion of “inscrutability” to traverse the past, present, and future, continually implementing trans tactics as a means of re-historicization, safety, and survival.

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Section: A Trans History Of Qiu Jin In Duilianmentioning

confidence: 99%

Tactics of Virtual Memory and Trans Inscrutability in the Works of Wu Tsang

Kang

2024

median

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“…73 Journalism involved a fluid idea of textuality, since the author pitched the original piece to the particular journal's style, the editor would alter it, the author recorrect it, and the author might well change it again if s/he republished it later. 74 In a periodical context, then, writing is contingent and flexible and emerges from a social organization. This was especially true of "The Barnacle," which contained coauthored work produced by her own circle.…”

Section: Case Study: the Heir Of Redclyffementioning

confidence: 99%

Victorian Feminist Criticism: Recovery Work and the Care Community

Schaffer¹

2018

Victorian Literature and Culture

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It is fitting that this article emerged from a conference in which the orderly progression of speakers was continually modified by exchanges within the conference space, for these two ways of organizing information form the subject of this article. When we aim to recover Victorian women writers, we often imagine a particular case in a timeline, selecting and extracting in a tacit model of linear orderliness. This is particularly significant in what we might call “recovery feminism,” the practice of salvaging texts that have been lost to history. Recovery feminism has dominated Victorianist feminist criticism since its development in the late 1970s, and I practiced it enthusiastically in my first book,The Forgotten Female Aesthetes. In this article, I want to acknowledge what recovery feminism has given us, but I also want to delineate the profound and often unarticulated ways it continues to structure our work, often with unintended consequences. In order to explore alternative forms of feminism, I assess theories of influence and intertextuality, and I use Charlotte M. Yonge'sThe Heir of Redclyffe(1853) as an example that both thematizes this issue and acts as a case study of forms of feminist criticism. A viable feminist criticism, I contend, ought to be able to address a novel likeHeir, andHeiritself may be able to provide a model for how to do that. Such a model of feminist practice might actually resemble the simultaneous, atemporal, interactive model of the conference day. In the digital era, we occupy an alternative chronology, in which we envision ourselves not as strenuously excavating the last disintegrating relics of the past, but rather as choosing among multiple simultaneous virtual texts, severed from markers of time or space. What might be a feminist critical practice for the way we work now?

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“…In general, however, these unsigned pieces run counter to the tendency from 1898 Describing the origins of similar, earlier essay collections by Arnold, Wilde and Pater in periodical articles and reviews, Laurel Brake observes that the superficial coherence and seeming "permanence of the book" can obscure the "ephemeral characteristics" associated with the origin of its contents in periodical form. 58 French literature a generation previously shows. 59 The policies and proclivities as an editor that Harris brought to the Saturday Review were not independent initiatives: whilst they reflect his own tastes as an editor, they also stem from broader developments and his inheritance from previous generations of writers and editors.…”

mentioning

confidence: 98%

"The neglected, the unutterable Verlaine": Arthur Symons, the Saturday Review, and French Literature in the 1890s

Creasy¹

2019

Victorian Periodicals Review

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Subjugated Knowledges

Cited by 267 publications

References 0 publications

Tactics of Virtual Memory and Trans Inscrutability in the Works of Wu Tsang

Tactics of Virtual Memory and Trans Inscrutability in the Works of Wu Tsang

Victorian Feminist Criticism: Recovery Work and the Care Community

"The neglected, the unutterable Verlaine": Arthur Symons, the Saturday Review, and French Literature in the 1890s

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