Judith Beyer – författare

With fresh and provocative insights into the everyday reality of politics in post-Soviet Central Asia, this volume moves beyond commonplaces about strong and weak states to ask critical questions about how democracy, authority, and justice are understood in this important region. In conversation with current theories of state power, the contributions draw on extensive ethnographic research in settings that range from the local to the transnational, the mundane to the spectacular, to provide a unique perspective on how politics is performed in everyday life.

With fresh and provocative insights into the everyday reality of politics in post-Soviet Central Asia, this volume moves beyond commonplaces about strong and weak states to ask critical questions about how democracy, authority, and justice are understood in this important region. In conversation with current theories of state power, the contributions draw on extensive ethnographic research in settings that range from the local to the transnational, the mundane to the spectacular, to provide a unique perspective on how politics is performed in everyday life.

Practices of Traditionalization in Central Asia focuses on how tradition is ‘everyday-ified’ in contemporary Central Asia, including Tatarstan and Tibet, and what people seek to achieve in its name. The case studies range from political demonstrations and industrial workers’ gatherings to institutions of religious education, minority communities, weddings, and the Internet.In this volume we regard tradition as a practice that needs to be explored in its institutional and interactional context at a particular time, rather than as a reliable guide to the past: tradition can only be judged from the present; it is an interpretative concept, not a descriptive one. While the scholarly debate has so far centered on what tradition entails and what it does not, including the question of invention and ownership, less attention has been devoted to investigating how tradition is enacted, enforced, or motivated – in short, how it ‘gets done.’ In Central Asia, practices of traditionalization are closely related to the transformation of the socialist order and the emergence of highly stratified societies. This volume asks: When does tradition emerge as a line of argumentation, who are the actors invoking it and how is it being (materially) manifested?Practices of Traditionalization in Central Asia will be of great interest to scholars of Central Asia, Anthropology, History, Political Science, and Sociology. The chapters were originally published as a special issue of Central Asian Survey.

The Force of Custom presents a finely textured ethnographic study that sheds new light on the legal and moral ordering of everyday life in northwestern Kyrgyzstan. Through her extensive fieldwork and firsthand experience, Judith Beyer reveals how Kyrgyz in Talas province negotiate proper behavior and regulate disputes by invoking custom, known to the locals as salt. While salt is presented as age-old tradition, its invocation is shown to be a highly developed and flexible rhetorical strategy that people adapt in order to meet the challenges of contemporary political, legal, economic, and religious environments. Officially, codified state law should take precedence when it comes to dispute resolution, yet the unwritten laws of salt and the increasing importance of Islamic law provide the standards for ordering everyday life. As Beyer further demonstrates, interpretations of both Islamic and state law are also intrinsically linked to salt. By interweaving case studies on kinship, legal negotiations, festive events, mourning rituals, and political and business dealings, Beyer shows how salt is the binding element in rural Kyrgyz social life and how it is used to explain and negotiate moral behavior and to postulate communal identity. In this way, salt provides a time-tested, sustainable source of authentication that defies changes in government and the shifting tides of religious movements.

Practices of Traditionalization in Central Asia focuses on how tradition is ‘everyday-ified’ in contemporary Central Asia, including Tatarstan and Tibet, and what people seek to achieve in its name. The case studies range from political demonstrations and industrial workers’ gatherings to institutions of religious education, minority communities, weddings, and the Internet.In this volume we regard tradition as a practice that needs to be explored in its institutional and interactional context at a particular time, rather than as a reliable guide to the past: tradition can only be judged from the present; it is an interpretative concept, not a descriptive one. While the scholarly debate has so far centered on what tradition entails and what it does not, including the question of invention and ownership, less attention has been devoted to investigating how tradition is enacted, enforced, or motivated – in short, how it ‘gets done.’ In Central Asia, practices of traditionalization are closely related to the transformation of the socialist order and the emergence of highly stratified societies. This volume asks: When does tradition emerge as a line of argumentation, who are the actors invoking it and how is it being (materially) manifested?Practices of Traditionalization in Central Asia will be of great interest to scholars of Central Asia, Anthropology, History, Political Science, and Sociology. The chapters were originally published as a special issue of Central Asian Survey.

An open access book, Antigender Fashion is a rich examination of gender fluidity in contemporary fashion design, Judith Beyer develops an emerging new theoretical framework for understanding how fashion can blur and challenge gender boundaries.How is gender fluidity in contemporary fashion different from 20th century androgyny or millennial unisex styles? Like antifashion, which opposes and challenges fashion, Beyer argues that antigender fashion seeks to dismantle and confront binary gender signifiers. After tracing the history of gender-blurring fashion from Marlene Dietrich’s androgynous tailoring to Alessandro Michele’s floral Gucci suits, case studies of four high-profile fashion brands reveal the diverse approaches to gender-fluidity in contemporary fashion.Investigating each case study through multiple theoretical perspectives – from gender studies to gothic horror, cyborg theory to Afrofuturism – Beyer situates antigender fashion in a rich theoretical landscape and illuminates exciting new critical directions for students and researchers. Can antigender fashion influence the construction of contemporary masculinities and femininities – and can it be a catalyst for change?The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Bloomsbury Open Collections Library Collective.

An open access book, Antigender Fashion is a rich examination of gender fluidity in contemporary fashion design, Judith Beyer develops an emerging new theoretical framework for understanding how fashion can blur and challenge gender boundaries.How is gender fluidity in contemporary fashion different from 20th century androgyny or millennial unisex styles? Like antifashion, which opposes and challenges fashion, Beyer argues that antigender fashion seeks to dismantle and confront binary gender signifiers. After tracing the history of gender-blurring fashion from Marlene Dietrich’s androgynous tailoring to Alessandro Michele’s floral Gucci suits, case studies of four high-profile fashion brands reveal the diverse approaches to gender-fluidity in contemporary fashion.Investigating each case study through multiple theoretical perspectives – from gender studies to gothic horror, cyborg theory to Afrofuturism – Beyer situates antigender fashion in a rich theoretical landscape and illuminates exciting new critical directions for students and researchers. Can antigender fashion influence the construction of contemporary masculinities and femininities – and can it be a catalyst for change?The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Bloomsbury Open Collections Library Collective.

While there are a great many books on the Hollywood star system and its costuming, and a number of books on queer cinema, the role of lesbian dress styles in constructing lesbian characters has yet to be the subject of a discrete, detailed book study. ???????Lesbian Styles in Cinema examines how dress constructs lesbian characters as a form of representation and visual communication in film. By focusing on a set of independent and studio films that highlight lesbian dress practices, from Leontine Segan's Madchen in Uniform (1931) and other lesbian classics such as Donna Dietch's Desert Hearts (1985) to the Wachowski sisters Bound (1996) and Rose Glass' Love Lies Bleeding (2024), this book unpacks the role of sartorial codes in producing narratives of lesbian subjectivities, representation and desire.

While there are a great many books on the Hollywood star system and its costuming, and a number of books on queer cinema, the role of lesbian dress styles in constructing lesbian characters has yet to be the subject of a discrete, detailed book study. ​​​​​​​Lesbian Styles in Cinema examines how dress constructs lesbian characters as a form of representation and visual communication in film. By focusing on a set of independent and studio films that highlight lesbian dress practices, from Leontine Segan’s Madchen in Uniform (1931) and other lesbian classics such as Donna Dietch’s Desert Hearts (1985) to the Wachowski sisters Bound (1996) and Rose Glass’ Love Lies Bleeding (2024), this book unpacks the role of sartorial codes in producing narratives of lesbian subjectivities, representation and desire.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall/Winter ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film.With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity.Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.

Before Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall/Winter ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele’s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces – imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film.With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men’s and women’s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity.Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled ‘Rhizomatic Scores’, referencing Deleuze and Guattari’s influential concept; or the Fall/Winter 2020 menswear collection titled ‘Masculine, Plural’ that referenced Butler’s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.

Alessandro Michele's creative direction at Gucci, starting in 2015, transformed the brand into a maximalist, gender-fluid and intellectual aesthetic that blended vintage-inspired, eclectic designs with philosophical and cultural referencesBefore Alessandro Michele took the creative helm at Gucci in 2015, the brand was mostly known for its sleek sophistication and sexy hedonism. Despite having worked at the Italian fashion house for over twelve years as the accessories and jewellery designer, Michele was relatively unknown in the fashion industry and the public sphere. All of that was to change when he sent his models down the runway for the 2015 Fall/Winter ready-to-wear collection in an eclectic mix of pussy-bow blouses, chiffon dresses, wallpaper prints and a motley collection of accessories, including fur-lined loafers, berets and granny-style horn-rimmed glasses. Michele s stylistic design approach created an aesthetic reminiscent of the fashion eccentric who wears flea market finds with high-end designer and heirloom pieces imperfect, nostalgic and maximalist. The new Gucci woman (and man) were intellectual and sensual misfits who are perfectly at home in the glamourous rag-tag aesthetic of a Wes Anderson film.With his inaugurate collection, Michele tapped into the zeitgeist that was yearning for a more colourful and playful design, and a disregard of traditional gender divisions: while Gucci has hitherto showcased its men s and women s collections separately, as well as favoured traditional masculine and feminine looks respectively, Michele broke with the idea of a gender binary, ushering in gender fluidity and a new fantastical vision of masculinity.Although his collections were spectacular in their scope (the Fall/Winter 2017 consists of roughly 120 looks), the designs are also a testimony to his ability to scramble signifiers of gender, pop culture, history and time. Referencing and borrowing from philosophical concepts and ideas, such as the infamous Cyborg collection (Gucci Fall/Winter 2019) that envisioned subjectivities beyond the confines of the human body with replica heads or extra eyes on their hands; the Fall/Winter 2016 collection titled Rhizomatic Scores , referencing Deleuze and Guattari s influential concept; or the Fall/Winter 2020 menswear collection titled Masculine, Plural that referenced Butler s notion of gender performativity, Michele exemplifies a fashion auteur who knows how to play not only with gender signifiers but also with signifiers of time, culture and species.