Imagined communities: Reflections on the origin and spread of nationalism

Bodies That Matter: On the Discursive Limits of “Sex”

Acknowledgements Introduction 1. Readings and responses 2. Preface to the 1st edition 3. Introduction to the 1st edition 4. Interactive artifacts 5. Plans 6. Situated actions 7. Communicative resources 8. Case and methods 9. Human-machine communication 10. Conclusion to the 1st edition 11. Plans, scripts and other ordering devices 12. Agencies at the interface 13. Figuring the human in AI and robotics 14. Demystifications and re-enchantments of the human-like machine 15. Reconfigurations Notes References.

Human-Machine Reconfigurations: Plans and Situated Actions

Is there life after capitalism? In this creatively argued follow-up to their book The End of Capitalism (As We Knew It), J. K. Gibson-Graham offer already existing alternatives to a global capitalist order and outline strategies for building alternative economies. A Postcapitalist Politics reveals a prolific landscape of economic diversity-one that is not exclusively or predominantly capitalist-and examines the challenges and successes of alternative economic interventions. Gibson-Graham bring together political economy, feminist poststructuralism, and economic activism to foreground the ethical decisions, as opposed to structural imperatives, that construct economic "development" pathways. Marshalling empirical evidence from local economic projects and action research in the United States, Australia, and Asia, they produce a distinctive political imaginary with three intersecting moments: a politics of language, of the subject, and of collective action. In the face of an almost universal sense of surrender to capitalist globalization, this book demonstrates that postcapitalist subjects, economies, and communities can be fostered. The authors describe a politics of possibility that can build different economies in place and over space. They urge us to confront the forces that stand in the way of economic experimentation and to explore different ways of moving from theory to action. J. K. Gibson-Graham is the pen name of Katherine Gibson and Julie Graham, feminist economic geographers who work, respectively, at the Australian National University in Canberra and the University of Massachusetts Amherst.

A Postcapitalist Politics

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

Acknowledgments 1 Queer Temporality and Postmodern Geographies2 The Brandon Archive 3 Unlosing Brandon: Brandon Teena, Billy Tipton, and Transgender Biography 4 The Transgender Look 5 Technotopias: Representing Transgender Bodies in Contemporary Art 6 Oh Behave! Austin Powers and the Drag Kings 7 What's That Smell? Queer Temporalities and Subcultural Lives Notes Bibliography Index About the Author

In a Queer Time and Place: Transgender Bodies, Subcultural Lives

Illustrations ix Acknowledgments xii Introduction: Low Theory 1 1. Animating Revolt and Revolting Animation 27 2. Dude, Where's My Phallus? Forgetting, Losing, Looping 53 3. The Queer Art of Failure 87 4. Shadow Feminisms: Queer Negativity and Radical Passivity 123 5. "The Killer in Me Is the Killer in You": Homosexuality and Fascism 147 6. Animating Failure: Ending, Fleeing, Surviving 173 Notes 189 Bibliography 193 Index 201

The Queer Art of Failure

In this examination of the monster as cultural object, Judith Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as "Silence of the Lambs," "Texas Chainsaw Massacre," and "Candyman," "Skin Shows" understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference.Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.

Skin Shows: Gothic Horror and the Technology of Monsters

This roundtable took place via e-mail in March, April, and May of 2006. Participants wrote in clusters of three, sending their remarks back to me to be collated and sent on to the next cluster for a total of three rounds of comments. I edited the results for continuity, occasionally shifting a remark to an “earlier” or “later” place in the conversation, cutting digressions, or adding transitions. Thus the temporality, polyvocality, and virtual space of this production are quite different than a real-time, face-to-face roundtable would have been: perhaps this is fitting for a special issue on queer temporalities. My deepest gratitude goes to all the scholars and critics who participated and to J. Samaine Lockwood and Kara Thompson for copyediting assistance. — Elizabeth Freeman

Judith Halberstam

Papers

In a Queer Time and Place: Transgender Bodies, Subcultural Lives

The Queer Art of Failure

Skin Shows: Gothic Horror and the Technology of Monsters

Theorizing Queer Temporalities: A Roundtable Discussion

Gaga Feminism: Sex, Gender, and the End of Normal