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‘drone assemblage’ is also of course inseparable from its current use in counterinsurgency and pacification operations. Such operations are often predicated upon ‘fixing’ certain kinds of sexual and gender relations. These operations in counterinsurgency practices are just as technological and ‘artificial’ as any other bodily formation. However, this kind analysis of gender politics does not necessarily take into consideration how both gender and ‘the drone’ are bound up in the politics of race and racialisation, which I turn to now. Building on the insights of
Examining Alfred Hitchcock‘s Rebecca in terms of the Gothic convention of non-realist doubled and split characters, this essay argues that the slippage of desire between characters, male as well as female, complicates the containment of the dead Rebecca and whatever she represents. Although the splitting of the female protagonist into the unnamed heroine, the ghostly Rebecca and her surrogate Mrs Danvers has been extensively discussed, the use of this strategy as it concerns the male characters has been less often noticed. The replication of the male protagonist, Maxim, by two other male characters at once deepens him psychologically and contaminates him with ghostliness. These two conflicting manoeuvres strengthen his connection with both his wives, the dead as much as the living. But even while the treatment of Maxim empowers Rebecca and her successor, the movie‘s depiction of male bonding invites a questioning of the extent of female agency.
This article provides a reading of gender politics in cyberpunk, drawing upon the Gothic, the cyborg and the (post)feminist subject. This reading is effected through an account of the ass-kicking techno-babe, a crucial component of the masculine strand of cyberpunk which valorises a masculinity and technology dialectic and draws upon film noir, with its hardboiled detectives and monstrous femmes fatales. From Molly Million‘s in Neuromancer to Y.T. in Neal Stephenson‘s Snow Crash (1992) and Trinity in Andy and Larry Wachowski‘s Matrix trilogy (1999–2003), this figure of the femme fatale demonstrates that the (post)feminist project of the ass-kicking techno-babe has found a home in the Gothic aesthetics of the noir-inf(l)ected genre of cyberpunk. The account of how hyper-sexualised cyborgic female bodies are positioned in contrast with the repressed bodies of male hackers reveals the destabilising conundrum of supposed agency contained by the determinacy of the (post)feminist body.
Male servants in Ann Radcliffe‘s early Gothic novels are frequently underexplored in critical examinations of gender identity in Radcliffe‘s literary politics due to a long tradition of social and literary marginalisation. However, class-specific masculine identities built on a socio-moral and political ideologies and domestic anxieties are not only particularly evident in Radcliffe‘s The Romance of the Forest (1791), but also effectively problematise an already unstable masculine ideal therein. Servant masculine identity in Radcliffe‘s work is developed through the contrast between servant characters and their employers, through examples of potentially revolutionary active and narrative agency by male servants, and through the instance of the heroine and male servants joint flight from the Gothic space. This article will establish that the male servant character in the early Gothic novel is essential to understanding socio-gendered identity in Radcliffe‘s work, and that thisfi gure s incorporation in Gothic class and gender politics merits further examination.
The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.
Humanitarianism ’, Journal of Intervention and Statebuilding , 12 : 3 , 300 – 18 , doi: 10.1080/17502977.2018.1482079 . Repo , J. and Yrjölä , R. ( 2011 ), ‘ The Gender Politics of Celebrity Humanitarianism in Africa ’, International Feminist Journal of Politics , 13 : 1
). RefuSHE ( 2020b ), ‘ Economic Independence ’, www.refushe.org/holistic-model/refugee-girl-economic-independence (accessed 28 February 2020 ). Repo , J. and Yrjölä , R. ( 2011 ), ‘ The Gender Politics of Celebrity Humanitarianism in Africa ’, International
, and Gender Politics ’, Antipode , 44 : 1 , 31 – 50 , doi: 10.1111/j.1467-8330.2010.00835.x . Foucault , M. ( 1978 ), The History of Sexuality. Volume 1: An Introduction , Trans . R. Hurley ( New York : Pantheon Books ). Foucault
fluid relations between genders, and interactions between public and private spheres. While humanitarian reports foreground the impact of lost livelihoods, conflict-related violence and restrictive refugee-asylum policies on gender relations (e.g. CARE, 2016 ), the after-effects of more longstanding gender politics in pre-war societies are often missing from debates on gender and displacement ( Alsaba and Kapilashrami, 2016 ; Buckey-Zistel and Krause, 2017 ). In fact
At a time when conflicts in Europe, the Middle East and elsewhere are highlighting women's roles as armed activists and combatants, this volume offers a book-length study of women's participation in Spain's oldest armed movement. Drawing on a body of oral history interviews, archival material and published sources, it shows how women's participation in radical Basque nationalism has changed from the founding of ETA in 1959 to the present. The book analyses several aspects of women's nationalist activism: collaboration and direct activism in ETA, cultural movements, motherhood, prison and feminism. By focusing on gender politics, it offers new perspectives on the history of ETA, including recruitment, the militarisation of radical Basque nationalism and the role of the media in shaping popular understandings of ‘terrorism’. These arguments are directly relevant to the study of women in other insurgence and terrorist movements.