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The Difficult Comedy of Hannah Gadsby: Nanette
Olu Jenzen

This article concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.

Film Studies
Personhood and societal transformation after economic collapse in Iceland
Timothy Heffernan

: 1). I use affect and queer theory to explore sense-making practices as forms of resistance, which I studied in Iceland through ethnographic fieldwork (2016–18). 2 I argue ambiguity emerges through the tension of knowing and not knowing , or the capacity (or incapacity) to embrace dominant epistemes amid crisis. This produces ‘affective atmospheres’ seen in shifting public

in The anthropology of ambiguity
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The social and the sexual in interwar Britain
Matt Houlbrook

In this chapter I want to argue for the importance of thinking queer in our practice as historians. Engaging with what I see as a persistent tendency in recent work on modern British same-sexualities, I tease out the possibilities opened up by shifting our definition of queer from a position to a process; from a mode of sexual selfhood – however unstable – to a set of critical practices; from something we consider our subjects to be, to something we do. In so doing I draw upon Laura Doan’s recent work, particularly the challenging reading of

in British queer history
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Angie Blumberg

queer sexual fantasy through archaeological excavation and reconstruction. Additionally, calling upon the sphinx to re-enact the ancient Egyptian myth in which Isis rebuilds the fragmented remains of Osiris, the speaker invokes a process of archaeological excavation and reconstruction that the poem itself enacts throughout. Imagining the sphinx leading him through millennia of time, layers of dust and

in British literature and archaeology, 1880– 1930
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Peter Barry

Introduction Queer theory emerged prominently as a distinct field only by the 1990s – there is nothing about it, for instance, in Terry Eagleton's Literary Theory: An Introduction (1983), or in the first edition of Raman Selden's A Reader's Guide to Contemporary Literary Theory (1985). As with women's studies twenty years before, the growing significance and acceptance of this new field is indicated by the presence of ‘queer theory’ sections in many mainstream bookshops and publishers’ academic catalogues, and by the establishment of relevant

in Beginning theory (fourth edition)
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Andy Warhol, Fred Herko, and the A-Men
Paisid Aramphongphan

no instrumental reason at all; doing things that make no sense, are not efficient, that provide no yield—this line of thinking about expenditure, surplus, and excess, short-circuiting the rendement , has helped shape much of my thinking about the horizontality of queer embodiment in the 1960s. In this chapter, I foreground how this inefficient use of time and labor also extends to the realm of everyday sociality. The San Remo Cafe, frequented in the early 1960s by Herko and friends known as the A-Men (A for amphetamine), is an exemplary site in this regard. Even

in Horizontal together
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A Married Woman, Babyji and The Ministry of Utmost Happiness
Maryam Mirza

Then the question is, who Is the man, who the girl, All sex-accessories being no Indication. – Kamala Das, ‘The doubt’, 1967 This chapter grapples with representations of queer characters in three novels by Indian writers

in Resistance and its discontents in South Asian women’s fiction
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BDSM in Chaucer’s The Clerk’s tale, sadistic epistemology, and the ends of suffering
Masha Raskolnikov

, those lines also turn out to blur in ways that might be understood as queer and through queer theory’s theorisation of desire. To ground a given sexual minority group’s difference in history is to insist that its manifestation of desire is not merely contemporary innovation but rather a storied, established aspect of human sexual variation. I was drawn to medieval studies in part by promises of the absolute alterity of medieval minds, mores, and writings, but my research continually returns me

in Painful pleasures
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Jasmina Tumbas

The most sexually transgressive decade of socialist Yugoslavia, the 1980s, was a time when challenging compulsory heterosexuality politics and attendant gender roles became central to performative art practices in the alternative cultural scenes of Ljubljana. Questions of feminist and queer sexuality were a pervasive subtext and were often extremely overt themes in art, popular culture, and activism in the Yugoslav republic of Slovenia, with the punk as well as gay and lesbian underground scenes in Ljubljana marking a decisively political

in “I am Jugoslovenka!”
Open Access (free)
Female sexual agency and male victims
Jenny DiPlacidi

described by scholars such as George E. Haggerty in Queer Gothic ( 2006 ), Luce Irigaray in This Sex Which is Not One ( 1977 ) and Michel Foucault in The History of Sexuality (1976). Examining the intersections of sexuality and power within the representations of mother–son incest in the Gothic reveals the complexities of the radical destabilisations of gender and heteronormativity occurring

in Gothic incest