Ellen E. Berry – författare

The epidemic of mass rape in the former Yugoslavia has illustrated once again, and in particularly brutal fashion, the inextricable relationship between national politics, sexual politics, and body politics. The nexus of these three forces is highly charged in any culture, at any time in history, but especially so among cultures in which rapid, even cataclysmic, changes in material realities and national self-conceptions are eroding or overwhelming previously secure boundaries.The postcommunist moment in the so-called Second World--Central and Eastern Europe and the former Soviet Union--has dramatically exposed the opportunities and dangers that arise when the political, cultural, and economic foundations of a society are de- and then re-structured. Gender roles and relations, expressions of sexuality or attempts to recontain them, representations of the body, especially the female body, and the larger, cultural meanings it assumes, are particularly marked sites to witness the performance of complex national dramas of crisis and change.This groundbreaking volume turns its attention to the Second World, specifically to such subjects as the birth of the sex media and porn industry in Russia; Russian women and alcoholism; cinema in post-communist Hungary; patriotism and gender in Poland; sexual dissidence in Eastern Europe; and women in the former Yugoslavia.>[ go to the Genders website ]

The epidemic of mass rape in the former Yugoslavia has illustrated once again, and in particularly brutal fashion, the inextricable relationship between national politics, sexual politics, and body politics. The nexus of these three forces is highly charged in any culture, at any time in history, but especially so among cultures in which rapid, even cataclysmic, changes in material realities and national self-conceptions are eroding or overwhelming previously secure boundaries.The postcommunist moment in the so-called Second World--Central and Eastern Europe and the former Soviet Union--has dramatically exposed the opportunities and dangers that arise when the political, cultural, and economic foundations of a society are de- and then re-structured. Gender roles and relations, expressions of sexuality or attempts to recontain them, representations of the body, especially the female body, and the larger, cultural meanings it assumes, are particularly marked sites to witness the performance of complex national dramas of crisis and change.This groundbreaking volume turns its attention to the Second World, specifically to such subjects as the birth of the sex media and porn industry in Russia; Russian women and alcoholism; cinema in post-communist Hungary; patriotism and gender in Poland; sexual dissidence in Eastern Europe; and women in the former Yugoslavia.>[ go to the Genders website ]

What do narratives by British suffragettes of being forcibly fed have in common with the representation of indigenous women in Canadian police archives? How are literary representations of domestic violence related to the use of silence as a strategy of resistance in African American women's writing? How are modernist fictions of gay male desire connected with ambiguous sexual performances in rock music or with images of Vietnam veterans in American horror movies? What does a narrative of women's participation in Bengali national resistance movements share with an ethnographic study of prostitution in Papua New Guinea?These are the some of the specific questions raised by the essays in this volume, which examines a wide variety of historical and cultural locations where differently sexed, gendered, and racialized bodies have been constructed. More generally, this volume addresses theoretical debates over whether embodiment is best understood through representations or performances. Are bodies written or enacted? The different answers to these questions have important consequences for how we understand the inscription of bodies with systems of power and the possibilities that exist for resisting those systems.[ go to the Genders website ]

What do narratives by British suffragettes of being forcibly fed have in common with the representation of indigenous women in Canadian police archives? How are literary representations of domestic violence related to the use of silence as a strategy of resistance in African American women's writing? How are modernist fictions of gay male desire connected with ambiguous sexual performances in rock music or with images of Vietnam veterans in American horror movies? What does a narrative of women's participation in Bengali national resistance movements share with an ethnographic study of prostitution in Papua New Guinea?These are the some of the specific questions raised by the essays in this volume, which examines a wide variety of historical and cultural locations where differently sexed, gendered, and racialized bodies have been constructed. More generally, this volume addresses theoretical debates over whether embodiment is best understood through representations or performances. Are bodies written or enacted? The different answers to these questions have important consequences for how we understand the inscription of bodies with systems of power and the possibilities that exist for resisting those systems.[ go to the Genders website ]

The feminist pornography debates are centered around the opposition between pro-censorship factions and the pro-sex radicals or sex positives. But what exactly is the relationship between these debates and postmodern theories of reading and performativity? What happens to these debates when they are placed in the context of colonial or U.S. racial histories? What is the history behind today's sexual radicalism? How radical is it? In the first section of Sex Positives?, Nicola Pitchford, Naomi Morgenstern, Victoria L. Smith, and Gabrielle N. Dean focus on the recent sex wars in U.S. feminism, especially within lesbian culture. Elissa J. Rashkin, Gaurav Desai, and James Smalls broaden the terms of the sex wars debates in the second section to include sexualized racial and colonial representations, from Chicana, African, and African-American perspectives. Finally, Sander L. Gilman, Laura Ciolkowski, and Laura Frost explore a variety of historical contexts for understanding contemporary forms of sexual representation and the repression of such representations.

The feminist pornography debates are centered around the opposition between pro-censorship factions and the pro-sex radicals or sex positives. But what exactly is the relationship between these debates and postmodern theories of reading and performativity? What happens to these debates when they are placed in the context of colonial or U.S. racial histories? What is the history behind today's sexual radicalism? How radical is it? In the first section of Sex Positives?, Nicola Pitchford, Naomi Morgenstern, Victoria L. Smith, and Gabrielle N. Dean focus on the recent sex wars in U.S. feminism, especially within lesbian culture. Elissa J. Rashkin, Gaurav Desai, and James Smalls broaden the terms of the sex wars debates in the second section to include sexualized racial and colonial representations, from Chicana, African, and African-American perspectives. Finally, Sander L. Gilman, Laura Ciolkowski, and Laura Frost explore a variety of historical contexts for understanding contemporary forms of sexual representation and the repression of such representations.

Queer theory arose as a challenge to the stability of sexual categories. But is queer theory in the 1990s in danger of becoming just another category of theoretical inquiry and just another academic discipline? As queer studies is being legitimated within American universities, what dangers and opportunities arise from the process of legitimation?The essays in The Gay '90s address these questions in two distinct ways. The first section of the book, "Disciplinary Reflections," reflects upon the process of disciplinary formation as it affects lesbian and gay studies in the academy, contrasting older academic disciplines with newer, identity-based areas of study. The second section, "Interdisciplinary Readings," demonstrates the extent to which contemporary queer studies involves practices of interdisciplinary reading and analysis. Contributors include Dennis Allen, John Champagne, Myriam J. A. Chancy, Gabrielle N. Dean, Leigh Gilmore, Calvin Thomas, Elayne Tobin, Robyn Wiegman, and Thomas Yingling.

Queer theory arose as a challenge to the stability of sexual categories. But is queer theory in the 1990s in danger of becoming just another category of theoretical inquiry and just another academic discipline? As queer studies is being legitimated within American universities, what dangers and opportunities arise from the process of legitimation?The essays in The Gay '90s address these questions in two distinct ways. The first section of the book, "Disciplinary Reflections," reflects upon the process of disciplinary formation as it affects lesbian and gay studies in the academy, contrasting older academic disciplines with newer, identity-based areas of study. The second section, "Interdisciplinary Readings," demonstrates the extent to which contemporary queer studies involves practices of interdisciplinary reading and analysis. Contributors include Dennis Allen, John Champagne, Myriam J. A. Chancy, Gabrielle N. Dean, Leigh Gilmore, Calvin Thomas, Elayne Tobin, Robyn Wiegman, and Thomas Yingling.

Women's Experimental Writing considers six contemporary authors who use experimental methods and negative modes of critique in their fiction and feminism. The authors covered are Valerie Solanas, Kathy Acker, Theresa Cha, Chantel Chawaf, Jeanette Winterson, and Lynda Barry.These writers all share a commitment to combining extreme content with formally radical techniques in order to enact varieties of gender, sex, race, class and nation-based experience that, they suggest, may only be “represented” accurately through the experimental unmaking of dominant structures of rationality. Ellen Berry extends the anti-social negative critique predominant in queer studies by offering an alternative archive of feminist negative literary practices and explores the consequences of joining an anti-social critique with radical innovations in literary and cultural forms. She argues that the radical aesthetic practices the authors employ are central to the emergence of contemporary Western feminisms and in doing so rectifies a critical neglect of contemporary experimental writing by women, especially in politicized forms, within the still-emerging postmodern canon.