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Antagonizing White Feminism: Intersectionality's Critique of
Women's Studies and the Academy pushes back against the exclusive
scholarship and discourse coming out of women-centered spaces and
projects, which throw up barriers by narrowly defining who can
participate. Vehement resistance to using inclusive language and
renaming scholarly spaces like Women's Studies and Critical
Feminism expresses itself in concerns that women are still
oppressed and thus women-only spaces must be maintained. But who is
a woman? What are the characteristics of a woman's lived
experience? Do affinity and a history of oppression justify
exclusion? This book shows how intersectional feminism is often
underperformed and appropriated as a "woke" vocabulary by elite
women who are unwilling to do the necessary emotional work around
their privilege. As Trans Women, Femmes, Women of Color, Queer
Women, Gender Variant, and Gender Non-Conforming scholars emerge,
the heteronormative, cisgender, colonial idea of women and the
feminine is rapidly under attack. The contributors believe that to
engage in the necessary conversations about the oppressed
performing oppression is to disrupt the exclusionary basis of
monolithic understandings of the feminine. Only then can we advance
the coalition needed to forge a multiracial, multicultural,
queer-led, anti-imperialist feminism.
Antagonizing White Feminism: Intersectionality's Critique of
Women's Studies and the Academy pushes back against the exclusive
scholarship and discourse coming out of women-centered spaces and
projects, which throw up barriers by narrowly defining who can
participate. Vehement resistance to using inclusive language and
renaming scholarly spaces like Women's Studies and Critical
Feminism expresses itself in concerns that women are still
oppressed and thus women-only spaces must be maintained. But who is
a woman? What are the characteristics of a woman's lived
experience? Do affinity and a history of oppression justify
exclusion? This book shows how intersectional feminism is often
underperformed and appropriated as a "woke" vocabulary by elite
women who are unwilling to do the necessary emotional work around
their privilege. As Trans Women, Femmes, Women of Color, Queer
Women, Gender Variant, and Gender Non-Conforming scholars emerge,
the heteronormative, cisgender, colonial idea of women and the
feminine is rapidly under attack. The contributors believe that to
engage in the necessary conversations about the oppressed
performing oppression is to disrupt the exclusionary basis of
monolithic understandings of the feminine. Only then can we advance
the coalition needed to forge a multiracial, multicultural,
queer-led, anti-imperialist feminism.
"Communities of Sense" argues for a new understanding of the
relation between politics and aesthetics in today's globalized and
image-saturated world. Established and emerging scholars of art and
culture draw on Jacques Ranciere's theorization of democratic
politics to suggest that aesthetics, traditionally defined as the
"science of the sensible," is not a depoliticized discourse or
theory of art, but instead part of a historically specific
organization of social roles and communality. Rather than
formulating aesthetics as the Other to politics, the contributors
show that aesthetics and politics are mutually implicated in the
construction of communities of visibility and sensation through
which political orders emerge.
The first of the collection's three sections explicitly examines
the links between aesthetics and social and political experience.
Here a new essay by Ranciere posits art as a key site where
disagreement can be staged in order to produce new communities of
sense. In the second section, contributors investigate how sense
was constructed in the past by the European avant-garde and how it
is mobilized in today's global visual and political culture.
Exploring the viability of various models of artistic and political
critique in the context of globalization, the authors of the essays
in the volume's final section suggest a shift from identity
politics and preconstituted collectivities toward processes of
identification and disidentification. Topics discussed in the
volume vary from digital architecture to a makeshift museum in a
Paris suburb, and from romantic art theory in the wake of Hegel to
the history of the group-subject in political art and performance
since 1968. An interview with etienne Balibar rounds out the
collection.
"Contributors." Emily Apter, etienne Balibar, Carlos Basualdo,
T. J. Demos, Rachel Haidu, Beth Hinderliter, David Joselit, William
Kaizen, Ranjanna Khanna, Reinaldo Laddaga, Vered Maimon, Jaleh
Mansoor, Reinhold Martin, Seth McCormick, Yates McKee, Alexander
Potts, Jacques Ranciere, Toni Ross
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