‘That street is taking us to home’: young children’s photographs of public spaces

ABSTRACT

Children’s identities constitute and are constituted by the everyday spaces they inhabit. Though there are innumerable accounts of what adults think public spaces like subways and city streets mean to children, fewer recorded accounts exist from young children themselves (Faulkner and Zolkos 2016, “Introduction.” In Critical Childhood Studies and the Practice of Interdisciplinarity, ix–xvii. Lexington: Lanham.). In this work I explored 2- – 5-year-old children’s conceptions of public space through the photographs they took and the narratives they told in and around those images. I focused on how children imaged their spaces, how their narrative fragments added layers of story to the images’ contents, and how their photographic performances acted as ‘visual voice’ (Burke 2005, “‘Play in Focus’: Children Researching Their Own Spaces and Places for Play.” Children Youth and Environments 15 (1): 27–53.), highlighting for us how they see themselves and their positions within the larger urban environment. The young children’s photographs depicted their growing autonomy and mobility within an urban context, attunements to non-human forms of the city, and knowledge of what it means to live in their communities.     

Engendering the Slum: Photography in East London in the 1930s

Photographs are not truthful records of reality. They are images that are always interpreted, and this essay looks at some critical interpretations of photographs taken in the 1930s of white working-class women in the streets of East London. It pays particular attention to two current critiques that tend to address two different kinds of photographs (and in so doing to constitute them as distinct genres): a Foucauldian account of photography as a form of disciplining surveillance, and a Lacanianinfluenced analysis of photography as a disruptive reminder of absence and death. By examining documentary photographs and family snapshots from the East End in the 1930s I argue, first, that both of these critical accounts require an explicit consideration of the constitution of sexual difference, since both implicitly reproduce regressive visions of (working-class) femininities. Secondly, I argue that feminist revisions of both should be deployed together in order to effect a destabilising critique of the constitution of sexual difference through photographs. I elaborate that argument by considering a third series of photographs, commissioned by Stepney Borough Council in 1937 to record housing condemned as slums in the borough. In discussing that series, I suggest that through its organisation of the spatiality and corporeality of the women photographed outside their houses that were to be demolished, a radically uncertain femininity is conjured.     

White gloves,feminist fists: race,nation and the feeling of ‘vintage’ in femme movements

This article raises the question of how the cultural politics of race and nation manifest within contemporary queer femme movements, performances and aesthetic practices. Focussing on the feeling of ‘vintage’, I specifically examine symbols, icons and aesthetics used in projects to queer femininity that invoke ‘the 1950s’. Grounded in femme-inist multi-sited ethnographic research in a movement to which I also belong, I draw on interviews and participant observation in queer subcultural spaces and analyse two examples of ‘vintage’ iconography within contemporary femme organizing where ‘vintage’ is a form of archival activism that also relates to a broader cultural imaginary of racialized femininity. Then I turn to an example of queer performance where ‘vintage’ is used as a critique of imperialism and whiteness. In closing, I discuss how the feeling of ‘vintage’ relates to whiteness and to a form of imperialist nostalgia.     

Suit of power: fashion,politics, and hegemonic masculinity in Australia

In 2010 the Australian Labor Party selected Julia Gillard as leader, making her Australia’s first female Prime Minister. Between 2010 and 2015 there was a renewed focus on issues of gender inequality in the way that women politicians have been treated in Parliament and in the media. Specifically, women in positions of political and institutional power such as Julia Gillard, Julie Bishop, and Quentin Bryce, were critiqued on their clothing choices in the Australian media. In this article, I argue that the Australian media’s attention to the fashion choices of women in politics is problematically gendered, because it subordinates aesthetic features that do not conform to hegemonic masculinity. I argue that in response to the dominant masculine aesthetic norm in politics, women politicians are using their sartorial choices to challenge this marginalisation of femininity in the political sphere.     

Of Fictional Cities and "Diasporic" Aesthetics

This essay considers the work of social reproduction as it unfolds within the cultural realm in both national and diasporic contexts. Beginning with a discussion of the creation of Malgudi—the quintessential Indian hometown created in the 1930s by one of India's most venerated writers, R K Narayan—I go on to argue that in the preindependence days, this Indian small town was created from an aesthetic position not unlike that of present-day diasporic artists. I then look at the novels of South Asian-American writer Indira Ganesan and the paintings by South Asian-American artist Arijit Sen to document the ways in which the works attempt to map alternative articulations of the space of home and community in a diasporic context. Together, these imaginary hometowns do the work of reproducing a viable social sphere through creative work that overcomes the constraints of colonial rule (in Narayan's case) and immigration (in Ganesan's and Sen's work).     

Personal lives: narrative accounts of Irish women in the diaspora

The burst of writing about Irish women in the diaspora after the 1980s, led by Mary Lennon, Marie McAdam and Joanne O'Brien's Across the Water: Irish Women's Lives in Britain, coincided with the ‘narrative turn’ in the social sciences and literary representation. This paper uses Carol Smart's concepts of Personal Life (2007) – memory, biography, embeddedness, relationality and the imaginary – to examine a range of ways in which personal narratives have become central to our understandings of Irish women and their descendants in both written and visual representations. It interweaves disciplines, bringing together a wide range of sources including academic and public accounts in which Irish women appear both as main characters and in walk-on parts. It explores constructions of these ‘fictions’ and their connections with the biographies of authors.     

Displacement,memory and home(less) identities: Turkish Cypriot women’s narratives

Abstract

This study is an analysis of the narratives of Turkish Cypriot women in the north of Cyprus who were displaced during the ethnic conflict between the 1950s and 1974. We have conducted 21 interviews with Turkish Cypriot women who were living in different parts of Northern Cyprus. We used oral history, both as a method and as an epistemological stance to re-phrase the near past of Cyprus and the Cyprus issue from the perspective of gender/women’s studies. The study follows the traces of modernity, patriarchy, and nationalism in women’s narratives, about the place, home, belonging and homelessness. The narratives describe Turkish Cypriot women’s experiences of being a woman in conflict and displacement (‘göçmen olmak’ in daily talk in Turkish) making a home out of a house and undertaking daily routines for their families. The study also reveals that ethnic conflict and displacement have empowered women to a certain degree.     

‘Resemblances to archaeological finds’: Guido Boggiani,Claude Lévi-Strauss and Caduveo body painting

In 1942, Claude Lévi-Strauss published an article on Caduveo body painting in the first number of the surrealist magazine VVV, with the editorial assistance of André Breton and cover by Max Ernst. In the article, Lévi-Strauss uses the photographs of the Caduveo women taken during his fieldtrip in 1935–36, together with drawings of facial designs collected to reflect on their ‘strong originality’, which ‘evokes a very ancient culture, and one full of preciosities’. Amongst these illustrations, there is an engraving taken from Guido Boggiani’s book, I Caduvei, published in 1895. Boggiani, an Italian landscape painter who visited South America in 1887–93, was captivated by the Caduveo graphic art, which he sketched in detail. In 1896 he returned, travelling to Paraguay, this time equipped with a new tool to help his ethnographic research: a photographic camera. Over a period of five years, Boggiani completed more than 400 photographs on glass gelatin plates of various sizes. For Lévi-Strauss, as for Boggiani, the originality of the Caduveo graphic art remained enigmatic, evoking a very ancient culture; it was a topic to which he would return in several of his most influential works. In this article, I focus on the visual images (engraved, drawn, photographed and filmed) that depict the body painting of the Caduveo people in central Brazil by Boggiani and Lévi-Strauss in order to explore the ways in which they enabled an ephemeral art – delicate arabesques painted on skin – to be studied as archaeological vestiges. In the process, I trace the aesthetic sensibility of Boggiani and Lévi-Strauss that provided them with the imaginative tools to do so.     

Geography and Global Change Science: Relationships Necessary,Absent, and Possible

Initiated by geoscientists, the growing debate about the Anthropocene, ‘planetary boundaries’ and global ‘tipping points’ is a significant opportunity for geographers to reconfigure two things: one is the internal relationships among their discipline's many and varied perspectives (topical, philosophical, and methodological) on the real; the other the discipline's actual and perceived contributions to important issues in the wider society. Yet, without concerted effort and struggle, the opportunity is likely to be used in a ‘safe’ and rather predictable way by only a sub‐set of human‐environment geographers. The socio‐environmental challenges of a post‐Holocene world invite old narratives about Geography's holistic intellectual contributions to be reprised in the present. These narratives speak well to many geoscientists, social scientists, and decision‐makers outside Geography. However, they risk perpetuating an emaciated conception of reality wherein Earth systems and social systems are seen as knowable and manageable if the ‘right’ ensemble of expertise is achieved. I argue that we need to get out from under the shadow of these long‐standing narratives. Using suggestive examples, I make the case for forms of inquiry across the human‐physical ‘divide’ that eschew ontological monism and that serve to reveal the many legitimate cognitive, moral, and aesthetic framings of Earth present and future. Geography is unusual in that the potential for these forms of inquiry to become normalised is high compared with other subjects. This potential will only be taken advantage of if certain human‐environment geographers unaccustomed to engaging the world of geoscience and environmental policy change their modus operandi.     

Violence and resistance: Joyce Lussu’s minority revolution in trans-lation

Abstract

This article explores the theme of violence in the autobiographical work of Joyce Salvadori Lussu, an Italian partisan, political activist, writer and translator, who experienced many wars and violent conflicts throughout her life: the Great War; the Second World War; the anti-imperialistic struggles; and the protests of 1968. As a premise, the author will reconsider the philosophical notions of violence and force in relation to the concept of resistance, by first situating all these categories within a physical sphere. Second, the author proposes a rethinking of the subject of violence from a female perspective, by studying Joyce Lussu’s theoretical discourse about women and war. Therefore, through the analysis of images of violence gathered from Lussu’s literary work, the author interprets the essential role of women as ‘resistants’ as well as bearers of pacifist values. Finally, the author uses the category of minority revolution, inspired by Deleuze and Guattari, to underline Lussu’s political commitment on the side of renegades through her activity as a translator of minor literature. The methodological perspective adopted aims at challenging the contemporary domination of the anti-humanist discourse, by endorsing the secular values of Humanism, reemerged and theorized in Italy between the 1930s and 1960s.     

Portraits of the garçonne as artist: gender and creativity in French fiction of the années folles

This article examines a series of popular and middlebrow works of fiction from the 1920s that represent the garçonne (the flapper, or androgynous, emancipated young woman) as artist. Challenging the popular view of the années folles as a period of relatively relaxed social conventions and gender norms, it shows that far from embracing female creativity, the authors of the period took pains to link it to moral and aesthetic deviance. Having considered what the representation of female creativity in novels by Berthe Bernage, Victor Margueritte and Marcel Prévost can tell us about gender in the 1920s, I go on to examine novels by the art critics André Warnod and François Fosca, who use the figure of the garçonne as artist to air art-critical positions about the modernist art produced in Montparnasse, especially by members of the École de Paris. Whereas Warnod represents his female artist as a victim of a modernism linked with the foreign and the ‘primitive,’ in Fosca’s novel the female painter is a more threatening figure: an agent of a modernism whose attacks on the female body (in the form of the conventional academic nude) are in turn echoed in a broader ‘troubling’ of gendered and aesthetic categories.     

Brazilian Horrors Past and Present: José Mojica Marins and Politics As Reproductive Futurism

Director José Mojica Marins is both the mastermind and actor behind Zé do Caixão, an icon within Brazilian popular culture and an international cult sensation. Marins encountered numerous conflicts with Brazil’s military dictatorship, and after producing the first two films of an intended trilogy, At Midnight I’ll Take Your Soul (1964) and This Night I’ll Possess Your Corpse (1967), the third film, Embodiment of Evil, was not made until 2008. Throughout this trilogy, Zé do Caixão kidnaps, tortures, and murders scores of victims, effectively mimicking the human rights abuses that occurred under the dictatorship. He advocates liberation from the oppression of traditional morality while reinscribing its rhetorical raison d’être: purpose through procreation. The popular appeal of these films, their political intentionality, and their production during and after the dictatorship allow for an analysis of the rhetorical strategies employed by Marins in his attempt to both shock audiences and instill in them a counterhegemonic consciousness. Despite the radical agenda at work in Marins’s films, I will argue that this trilogy is conservative in its rhetorical framework, serving as an example of Lee Edelman’s reproductive futurism, wherein political legitimacy is contingent upon procreation.     

Probability and certainty in seventeenth-century england. a study of the relationships between natural science,religion, history. law,and literature

Enlightenment optimism over mankind's progress was often voiced in terms of botanical growth by key figures such as John Millar; the mind's cultivation marked the beginning of this process. For agriculturists such as Arthur Young cultivation meant an advancement towards virtue and civilization; the cultivation of the mind can similarly be seen as an enlightenment concept which extols the human potential for improvable reason. In the course of this essay I aim to explore the relationship between ‘culture’ and ‘cultivation’ through botanical metaphor. By using the recurring motif of the mind's cultivation as a site from which to explore enlightenment views on female understanding, I investigate how far concerns with human progress extended to the female mind.

I examine the language of botany and cultivation in texts by authors such as Mary Wollstonecraft and Anna Laetitia Barbauld alongside that of Rousseau and Millar. Wollstonecraft's appropriation and subsequent inversion of the conventional cultivation metaphor, for example, demonstrates her desire to draw attention to society's neglect of women's educational potential by substituting images of enlightened growth with those of luxuriant decay. By pushing this analogy further she indicates how society has cultivated women rearing them like exotic flowering plants or ‘luxuriants’ where ‘strength of body and mind are sacrificed to libertine notions of beauty’. I discuss the antipastoral rationalism which enables her to unmask the false sentiment behind this traditional metaphoric association between women and flowers arguing that such familiar tropes are the language of male desire and are indicative of women's problematic relationship to culture.     

J. Casely Hayford’s Social Imaginary of “Church Universal” in William Waddy Harris the West African Reformer: The Man and His Message (1915)

A close reading of J. Casely Hayford’s tract William Waddy Harris The West African Reformer: The Man and His Message (1915) provides insight into the political considerations accounted for in writing histories of world Christianity during the colonial period. Hayford centres Africa and William Waddé Harris in a social imaginary that critiques Europe as the exclusive centre of religious reform and renewal. I argue that Hayford employs methods of analysis, rhetorical devices, and literary interlocutors that reflect his African positionality within the early colonial period. To this end, I argue that Hayford’s tract reconceives a history of world Christianity that predates the organised study of missions, ecumenics, and world religions. Without dismissing the contributions of these fields to the emergent field of World Christianity, Hayford’s colonial positionality lends him a contrasting and precarious double consciousness with which to the re-imagine a discourse of universal Christianity through and out of West Africa.     

Political imagination,sexuality and love in the Eurafrican debate

This article analyses the connections between political and economic discourses related to the reframing of the European geopolitical space and the growing relevance attached to the sphere of emotions and sexuality in the interwar period. The first part deals with the genealogy of the project of Eurafrica as a geopolitical body, as advanced in 1923 by Richard Coudenhove‐Kalergi. The second part discusses how this discourse circulated during the 1930s and was displaced within debates connected with the Europeanisation of colonies. By looking at the ambivalent and floating borders between sexuality and love, the last part of the article analyses how the stereotype that identifies ‘love’ as a ‘spiritual’ and distinctive feature of Europe was articulated by the colonial imaginary on Euro‐African loves.     

Eating,serving, and self-realisation: food and modern identities in contemporary Indian women's writing

The ‘new Indian woman’ is often invoked in popular and academic discourse as the embodiment of a modern nation—the ‘new India’. Feminist studies of this figure typically focus on the body of the imagined ‘new woman’ as a site upon which modernity is inscribed, allowing little room for the agency of women who actively contest imposed identities and roles in the quintessentially modern project of self-determination. In this article I argue that narratives of food in contemporary fiction and fictionalised autobiographical writing by Indian women challenge both dominant feminist critiques of the ‘new woman’, and influential accounts of modernity as ‘rupture’ in masculinist theoretical literature. In these texts food, and particularly the practice of serving food to others, is used by women as a tool for gaining independence, as a weapon to combat oppression, and as a means of negotiating migrant identities, among other things. The texts thus demonstrate the importance of appreciating the gendered nature of modernity, recognising women's modernities to be genuinely transformative of the individual, as well as continuous with traditional and conventionally feminine practices rather than necessarily opposed to them.     

Between Radical Geography and Humanism: Anne Buttimer and the International Dialogue Project

This paper argues for a rediscovery and reassessment of the contributions that humanistic approaches can make to critical and radical geographies. Based on an exploration of the archives of Anne Buttimer (1938–2017) and drawing upon Paulo Freire's notion of conscientização (awareness of oppression accompanied by direct action for liberation), a concept that inspired the International Dialogue Project (1977–1988), I explore Buttimer's engagement with radical geographers and geographies. My main argument is that Buttimer's notions of “dialogue” and “catalysis”, which she put into practice through international and multilingual networking, should be viewed as theory‐praxes in a relational and Freirean sense. In extending and putting critically in communication literature on radical pedagogies, transnational feminism and the “limits to dialogue”, this paper discusses Buttimer's unpublished correspondence with geographers such as David Harvey, William Bunge, Myrna Breitbart, Milton Santos and others, and her engagement with radical geographical traditions like anarchism, repositioning “humanism” vis‐à‐vis the fields of critical and radical geography.     

A Picturesque Modernity in 1920s Peru and Argentina: Ruins,Cuzco and Americanism in the Photographic Reportages of Variedades and Plus Ultra

This essay focuses on a series of pictorial reportages on the city of Cuzco and the surrounding region published in the Peruvian illustrated magazine Variedades in 1924 and 1925. Looking at the interplay of the aesthetic and documentary value of photographs, I analyse how the reportages on Cuzco’s architecture and ruins contributed to the indigenista proposal of regional and national identity and how, in so doing, they articulated an idea of modernity which opposed the main narrative of Western modernization produced by the magazine. I argue that Variedades became the discursive place of an interplay between opposite ideas of modernity since it afforded its readers-viewers a dual, almost conflictive, experience. Moreover, I posit that the magazine ‘mediated’ the regional discourse for the Limeño readers through the discourses of tourism and the picturesque familiarizing them with those ‘unknown’ regions. By comparing the reportages with similar documents published in the same decade by the Argentine magazine Plus Ultra, I also show that this was not something exclusive to Peru, but rather part of a broader Americanist trend that was shaping the relationship between native tradition and modernization as well as giving form to a proposal for a ‘pan-American’ identity in the 1920s.     

Poverty,Dependence and ‘Women’: Reading Autobiography and Social Policy from 1930s New Zealand

This essay explores the construction of ‘women’ in New Zealand during the 1930s, when the social legislation of the First Labour Government was being formulated and enacted. It examines the documentation produced by the legislative process in relation to the autobiographical texts of John A. Lee and Mary Isabella Lee, arguing that there are parallel conflicts in each set of texts. There is a series of double movements: the offer of the state’s protection to women is at the same moment a gesture of defence; ‘women’ are simultaneously constructed as ‘helpless’ and—not so overtly—as needing to be controlled.