The times we’re in: Queer feminist criticism and the reparative ‘turn’

Wiegman, Robyn

doi:10.1177/1464700113513081a

Cited by 221 publications

(37 citation statements)

References 46 publications

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“…Feminist Theory -lehden "The times we're in: Queer feminist criticism and the reparative 'turn,'" -erikoisosastossa Robyn Wiegman (2014) puolestaan tarjoaa lukijoille vakuuttavan Sedgwick-luennan ja repa-ratiivisen käänteen genealogian. Wiegman muistuttaa meitä siitä, että Sedgwickin ajatus korjaavasta luennasta sai itse asiassa alkunsa jo aikaisemmin, nelisivuisessa johdantotekstissä vuoden 1996 Studies in the Novel Gazing -lehden erikoisnumerossa otsikolla "Queerer than Fiction".…”

Section: Reparatiivinen Luenta Ja Sen Riskitunclassified

“…Hennessyn esittämä rakentava kritiikki reparatiivisuuden ideaa sekä sen myötä kehittynyttä suoranaista feministisen tutkimuksen reparatiivista käännettä (ks. Stacey 2014;Wiegman 2014) kohtaan toimii myös eräänlaisena kirjan sisäisenä feministisenä itsekritiikkinä. Tekstinsä lopuksi Hennessy ehdottaa väkivallan tutkimuksen lähestymistavaksi materialismin ja feminismin traditioita yhdistävää tutkimusotetta.…”

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“…Paranoidilta näyttävän tutkimuksen ohessa Sedgwickin mukaan pitäisi keskittyä myös korjaavaan: mielihyvää tuottavaan, yhteiskunnassa ja sen kehityksessä toisinaan myös hyvää näkevään tutkimukseen. Sedgwickin artikkelin julkaisemisen myötä feministisessä ja queer-tutkimuksessa onkin ollut nähtävissä muutosta, jota on nimitetty jopa "reparatiiviseksi käänteeksi" (Stacey 2014;Wiegman 2014).…”

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Sukupuoli ja väkivalta: Lukemisen etiikkaa ja politiikkaa

Karkulehto

Rossi

2017

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Section: Reparatiivinen Luenta Ja Sen Riskitunclassified

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Sukupuoli ja väkivalta: Lukemisen etiikkaa ja politiikkaa

Karkulehto

Rossi

2017

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“…Far more forceful than those who mourn theory are those who maintain its afterlife by way of a redemption narrative. Robyn Wiegman has even provided a helpful account of the "reparative turn," which she applies to queer theory, but which is pertinent well beyond queer and gender studies (Wiegman 2014). Theory was once, supposedly, textualist and apolitical, but thankfully there were a series of realist, ethical, materialist, reparative and vital turns that restored theory to its properly political place.…”

Section: Theory Refugementioning

confidence: 99%

Twilight of the Anthropocene Idols

Cohen¹,

Colebrook²,

Hillis³

2016

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Critical Climate ChangeSeries Editors: Tom Cohen and Claire ColebrookThe era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recently, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that impact on biomass and energy, erased borders and microbial invention, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distribution. As the pressures and realignments of this re-arrangement occur, so must the critical languages and conceptual templates, political premises and definitions of 'life.' There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the interface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemopolitical mutations that correspond to the temporalities of terrestrial mutation. Open Humanities Press is an international, scholar-led open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide. More at Twilight of the Anthropocene Idols

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“…27-28, 163-164). 4 For discussion of paranoid and reparative reading, see Sedgwick Kosofsky (1997), Love (2010), Berlant (2011) and Wiegman (2014). 5 This argument about the political capacity to mobilise sentimentality in North American culture has been central to all Berlant's work.…”

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confidence: 99%

Crossing over with Tilda Swinton—the Mistress of “Flat Affect”

Stacey

2015

Int J Polit Cult Soc

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Tilda Swinton is hard to classify as a performer because flux and mutability have become her signature qualities. One enduring element in her repertoire, however, can be brought into focus through Lauren Berlant's concept of "flat affect." Typically described as mysterious, otherworldly, or ethereal, Swinton often brings to her screen and live performances a quality or atmosphere that contradicts the conventional expectations of feminine emotional expressiveness and legibility in popular cinema. As a contribution to this special issue on Berlant's work, my article traces Swinton's styles of flat affect as an aesthetic relationality across a number of films, including Teknolust, Michael Clayton, The Deep End, and Orlando. My reading of Swinton's capacity for flatness places it within the history of her unusual facility to cross between independent and more popular cultural forms and to set femininity as genre in motion as she does so. Famous for embodying gender ambiguity since her performance as Orlando, Swinton's association with androgyny as a pre-queer promise of limitlessness folds femininity back upon its historical conventions and imperatives. In tracing the history of Swinton's gender fluctuations, this article concludes by reflecting on some of the failures of feminist and queer language to articulate the nuances of affective registers; androgyne, butch, tomboy, trans, and genderqueer designate styles of gendered and sexual embodiment, but these do not extend satisfactorily to aesthetic moods and atmospheres. Closing with a discussion of "offgender" flux, the article considers Swinton's recent twinning with David Bowie to open up how her performances reinvent affective genres while calling forth their histories and temporalities.Keywords Tilda Swinton . Lauren Berlant . Flat affect . Gender and genre . Feminist and queer theory When Lauren Berlant writes about contemporary genres of intimate sociality, she extends a concept of structural repetition from film theory into a more generalised understanding of subjectivity as inextricable from the popular modes of its formation. For Berlant, the cinema has always been integral to the ways in which modern culture has produced affective subjects who inhabit its social and political spaces through fantasy landscapes, the mise-en-scène of which structure our everyday lives as much as they do the fictions we consume. Reading these shifting genres as historical and Int J Polit Cult Soc (2015) 28:243-271

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The times we’re in: Queer feminist criticism and the reparative ‘turn’

Cited by 221 publications

References 46 publications

Sukupuoli ja väkivalta: Lukemisen etiikkaa ja politiikkaa

Sukupuoli ja väkivalta: Lukemisen etiikkaa ja politiikkaa

Twilight of the Anthropocene Idols

Crossing over with Tilda Swinton—the Mistress of “Flat Affect”

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