We may not be able to make you love reading, but archaeology of knowledge will lead you to love reading starting from now. Book is the window to open the new world. The world that you want is in the better stage and level. World will always guide you to even the prestige stage of the life. You know, this is some of how reading will give you the kindness. In this case, more books you read more knowledge you know, but it can mean also the bore is full.

The archaeology of knowledge

Symposium Review: 25th Anniversary of Moral Boundaries by Joan Tronto

Preface (1999) Preface (1990) 1. Subjects of Sex/Gender/Desire I. 'Women' as the Subject of Feminism II. The Compulsory Order of Sex/Gender/Desire III. Gender: The Circular Ruins of Contemporary Debate IV. Theorizing the Binary, the Unitary and Beyond V. Identity, Sex and the Metaphysics of Substance VI. Language, Power and the Strategies of Displacement 2. Prohibition, Psychoanalysis, and the Production of the Heterosexual Matrix I. Structuralism's Critical Exchange II. Lacan, Riviere, and the Strategies of Masquerade III. Freud and the Melancholia of Gender IV. Gender Complexity and the Limits of Identification V. Reformulating Prohibition as Power 3. Subversive Bodily Acts I. The Body Politics of Julia Kristeva II. Foucault, Herculine, and the Politics of Sexual Discontinuity III. Monique Wittig - Bodily Disintegration and Fictive Sex IV. Bodily Inscriptions, Performative Subversions Conclusion - From Parody to Politics

Postmodern Subjects, Postmodern BodiesThinking Fragments: Psychoanalysis, Feminism, and Postmodernism in the Contemporary WestYearning: Race, Gender, and Cultural PoliticsGender Trouble: Feminism and the Subversion of Identity

Disagreement: Politics and Philosophy

Judith ‘Jack’ Halberstam’s The Queer Art of Failure sets itself the task of ‘dismantl[ing] the logics of success and failure with which we currently live’ (2011: 2). To do so it constructs what Halberstam calls a ‘silly archive’, which ranges from the animated cartoon SpongeBob SquarePants to Yoko Ono and Marina Abramović’s performance art to Elfride Jelinek’s The Piano Teacher. Failure, for Halberstam, is not to be avoided, as it offers insights, ways of being, forms of politics and paradigms of resistance to current hegemonies. Working within the realm of queer theory and cultural studies, the book strangely echoes the 1970s sentiments of punk refusal as well as the global gay liberationists’ call for the invention of revolutionary sexualities outside of familial relations. Its dismantling of failure aims to show how winning is currently predicated upon losers. The inequitable neo-liberal ideologies that constitute today’s winners and losers relies on a basic assumption: those who lose did not work hard enough and thus deserve their fate. Halberstam asks us to consider the justice in winning in a global economy whose winners – the 1 per cent – do take all, leave very little for the rest of us, and next to nothing for those at the bottom end of the economic hierarchy. With ‘low theory’, an approach adapted from Stuart Hall’s reading of Antonio Gramsci, Halberstam brings together an eccentric array of sources. Low theory, for Halberstam, aims broadly and looks to arrive at counter-hegemonic options that are widely accessible. He defines low theory as less beholden to a particular telos and, again citing Hall, sees it ‘not as an end onto itself but “a detour en route to something else”’ (Halberstam 2011: 15). In a book about failure, it follows that Halberstam envisions low theory as a means to eschew goal-oriented politics and social theories. It is ‘open’ to ‘unpredictable outcomes’ and is ‘adaptable, shifting, and flexible’ (2011: 16). Halberstam predicates his low theory on what Hall describes as Gramsci’s ‘open’ Marxism. According to Hall, Gramsci’s theories were derived from the application of Marxist ideas to the real political problems that he faced in life, not from a deterministic application of theory in service of a teleological political project. Halberstam inserts himself into this logic by envisioning an ‘open pedagogy’ that is similarly amenable to questioning, that is bottom-up in its perspective and that ‘detaches itself from prescriptive methods, fixed logics, and epistemes’; instead, it ‘orients us toward problem-solving knowledge or social visions of radical justice’ (2011: 16–17). A large part of Halberstam’s silly archive is animated and stopmotion movies of the past decade, designed, made and marketed for mass audiences, mainly comprising children. Halberstam calls these movies ‘Pixarvolt’, finding in the works of Pixar and DreamWorks recipes for collective rebellion against capitalist economies and power and, in short, a ‘revolt’ against the status quos of neo-liberal humanism. These films, Halberstam argues, are made for children, who he sees as kinds of failed subjects, people for whom the world is not designed, who are clumsy and frustrated with various forms of authority, who are ready and willing to view the world in new ways, and for whom a revolution is a promising option. In these films, Halberstam sees ‘a rich technological field for rethinking collectivities, transformation, identification, animality, and posthumanity’ (2011: 174). He notes that Pixarvolt’s plots usually revolve around a struggle between human and non-human creatures in relationships that ‘resemble what used to be called “class struggle,” and they offer numerous scenarios of revolt and alternatives to grim, mechanical, industrial cycles of production and consumption’ (Halberstam 2011: 29). Pixarvolt films also focus on escapes from captivity that culminate in utopian dreams of freedom, elements in which he finds neither childishness nor a trajectory towards adult freedom but the dreams and means of social transformation. Key to Halberstam’s analysis is the counter-intuitive connections he argues the films create between communitarian revolt and queer forms of embodiment. Pixarvolt films, Halberstam argues, can provide new modes of thinking and new models of family, parenting and sociality. ‘While many Marxist scholars have characterized and dismissed queer politics as “body politics,”’ Halberstam argues, ‘these films recognize that alternative forms of embodiment and desire are central to the struggle against corporate domination’ (2011: 29). Halberstam concedes that there are no guarantees that animated

The Queer Art of Failure

“Any form of teaching,” Cris Mayo (2014) argues, “requires both meeting students where they are, in all their contradictory and complex positionings, and also negotiating together toward new unders...

LGBTQ Youth and Education: Policies and Practices by Chris Mayo

This article explores the possibilities of queer theory in art education, and I playfully, perhaps provocatively, ask how art education can help kids turn out queer. Moving away from both victim narratives of queer subjects and the attention on gay artists, who often are the focus of scholarship in art education, I contemplate the ways in which art education researchers address queerness and how those forms of address impact the relations that are (im)possible within the educational dynamic. I ask, “In what ways has queer been addressed in art education research, and how can other scholars push forward with such work to continue queer projects?” I observe a need to challenge fears around queer topics and contemplate how queerness, embedded in theory and practice, disputes and disrupts art education research.

Helping Kids Turn Out Queer: Queer Theory in Art Education

In this article, the author looks to the work of Jacques Ranciere to engage the possibilities in dissensus in queer theory in education. Fatigued of Foucault, bored with Butler, disdainful of Derrida and dumbfounded by Deleuze and Guattari, and just generally tired of feeling bullied into citing particular people and not others, the author attempts to join the growing use of Ranciere in queer theory. Questions of queer theory's (or is it theories) relevance, its purpose, its contributions are asked more and more. While some have dissented from queer theory for perhaps queerer pastures, the author dissents with queer theory showing how humor provides a concrete “application” to dissent from education's continued reactionary and conservative approaches. Queer theory may have been institutionalized, but it remains, as the author argues, a necessary and important political framework to intervene in the ongoing process of normalization.

Dissenting with queer theory: reading Rancière queerly

http://link.springer.com/content/pdf/10.1007/978-3-319-71129-4.pdf

Sexualities and Genders in Education

In this study I suggest ways of thinking through issues of intimacy that have emerged in the late twentieth and early twenty-first centuries in the USA. I propose a state of intimaphobia in education. However, I move beyond exposing this state of intimaphobia to offer particular readings of two philosophers of intimacy: Michel Foucault and the Marquis de Sade. I argue that these two philosophers provide alternative models of thinking through the problems and potentials of and for intimacy. While Foucault has been taken up within education in any number of ways, his concept of the ‘homosexual’ is utilized to offer insights into intimacy. Sade, while the stranger philosopher to engage, offers challenges to contemporary educational practices through the lessons of the libertine. Foucault and Sade offer, to put it simply, promises for pedagogical pleasures that challenge the current fears around intimacy in education.

Adam J. Greteman

Papers

LGBTQ Youth and Education: Policies and Practices by Chris Mayo

Helping Kids Turn Out Queer: Queer Theory in Art Education

Dissenting with queer theory: reading Rancière queerly

Sexualities and Genders in Education

Beyond Intimaphobia: Object Lessons from Foucault and Sade.